The present article aims to investigate signs and symbols and depict their artistic and cultural values in the remaining Middle Persian works. The author, using the library method, has tried to show that the symbols have not been used throughout these works coherently. Some texts have taken advantage of signs and symbols accurately. But in other texts, signs, symbols and similes have been interchangeably used and their boundaries have not been clearly depicted. It has been shown that signs and symbols have been mostly used in ethical, eschatological and cosmological areas wherein scribes and writers have tried to strengthen the adherence of their target audience to performing religious practices.

In order to express their profound mystical and emotional concepts¡ mystic poets inevitably resort to using symbols and breaking norms through raising linguistic capacities. In this study¡ the animal symbol of hawk in Ghazaliyat of Shams has been analyzed from a semiotic perspective.
Semiotics is the systematic study of signs in order to gain insights into the various intellectual backgrounds of a poet or an author. By examining the animal symbol of hawk via this branch of science¡ one can understand various intellectual layers of Rumi including the concept of return¡ quiescence¡ journey¡ etc. Signs in various texts are represented through various forms including words¡ sounds¡ smells¡ movement¡ location¡ etc. Through studying the dependent networks in the symbol of hawk¡ one can observe the match of the function of this symbol with different acts of color¡ location¡ movement¡ and sound. In this study¡ the binary oppositions and the transformation of the symbols are also examined. The investigation of these identifiers allows us to unveil the hidden intellectual layer of the poet along with the patterns of quiescence¡ unity¡ and intellectual infrastructures of Rumi. The important point in the binary oppositions is not the selection of the type of oppositions but the dynamic way of addressing the relations. This issue is indicative of the turbulent spirit of Rumi in his love for Shams Tabrizi or mystical themes. This way of treatment is noteworthy in the medial function of the positive and negative poles of hawk symbol. On the other hand¡ the mental space of Rumi including the cultural codes of Buddhism and Mithraism influencing the religious atmosphere of Balkh and Konya¡ and the mythical atmosphere has been explained. In sum¡ this paper has examined the patterns¡ acts¡ norm-breaking¡ the play of signifiers¡ the network of matches¡ and the transformation of the oppositions in the animal symbol of hawk and has analyzed and elucidated them in the samples of Ghazaliyat of Shams.

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.

Using an analytical and documentary approach, this paper seeks to conduct a sociological study of the meaning, concept, role, status and use of symbols in life believes that man's social life cannot continue without symbols. Man is a social creature, and interaction, exchange of thoughts and ideas, and establishing relations with fellow human beings, are pre requisites for social life and they require the use of symbols. Therefore, generally speaking, all aspects of human life are symbolic. The instruments of this interaction are language, script, writing, gesturing, pointing, encryption, sign and symbol, which encompass like man's surroundings, and dominate his life so that the interaction and communication with the world around him will not be possible without understanding the meaning of these symbols. The main function of symbols in human life is to foster cooperation and solidarity. They also serve as an indication of individual's strong attachment to a particular nation and culture. The two important functions which symbols have in the field of architecture and man's social environment are "the expression of meaning" and "creating a sense of identity". Each symbol and sign relating to this field is a manifestation of a sense of relation with and dependence on the culture of a particular society. As these signs are frequent in our daily life, they heighten a certain sense of meaning and identity.

Among mythical illustrations on Lorestan bronzes, there is a woman that seems to be a fertility goddess. Woman images were obtained of the bronze explorers discovered in the Sorkh Dom e Lori area of Kohdasht, Lorestan, Iran. Given the temple's excavation area, it's likely that the woman was the fertility goddess and this matter explains value of women in this region. Sometimes this woman's face has been carved along with pomegranate, fish and so on. Sometimes this has also been depicted naked and being childbirth, along with ram and octamerous flower. The purpose of this study was to revelate the image of this painted lady on the bronze pinheads of Sorkh Dom, Lorestan. Thus, with descriptive-analytic method, we studied and analyzed the symbols of these pinheads. The research questions are: 1) How are the images of the mother goddess in Lorestan bronze pinheads? 2) What are the mother goddess symbols in Lorestan bronze pinheads? The results of the research showed that in addition to the woman's image, other paints along with him, including fish, pomegranate and animals such as ram, are also signs and symbols of the fertility goddess. The octamerous flowers, and the number seven, signify abundance.

Anas with the Holy Quran is full of the care of God Almighty for "Dhi Al-Qarbi and Ahl al-Bayt (peace be upon them)". According to the authentic and agreed upon hadiths about the Ahl al-Bayt (AS) by the Holy Prophet (PBUH), both in the form of holy hadiths and the prophetic hadiths mentioned in the text of the article, all indicate the need for love for the Ahl al-Bayt by all Muslims. The purpose of this research is to process the love for the Ahl al-Bayt (AS) from the perspective of the Qur'an and the Sunnah of the Holy Prophet (PBUH) by explaining the verse of Maudut. According to the findings of this article, according to several narrations that have been introduced through the first-hand texts of Shiites and Sunnis, the examples in question of the verse of Mawdat are the same (pure Imams (as)). Therefore, love for the pure Imams and love for those rulers is a religious necessity and a public duty for all Muslims. The method used is library study and the use of Quranic verses and original religious texts in a descriptive-analytical and qualitative manner.

Iranian paining is of an internal and to some extent hidden nature; thus the observer should watch carefully to understand its concepts because it refers to a transcendent goal. In this context, semiotics helps in identification and classification of cultural signs so that the architectural elements of a certain culture are identified and reused according to contemporaneous situations and in this way the status of that culture (in this study, the Iranian one) is improved in modern Architecture scope. To this end, the present research was developed as a historical-interpretive study based on historical and written references and documents. It was a documentary study based on data collection approach. Library method was used from method deductive viewpoint. Also deductive reasoning was employed in the research. Present research aimed to address the meaning of symbols and signs of the painting “Khosro Listening to Barbad’s Music” related to Safavid era. To this end, various elements used in the physical body of the mentioned painting are addressed from Pierce’ view on signs. Peirce’s basic triad are: icons, indices, and symbols. In short , we can say at iconic signs , signified to visually represent the signifier . An index is a sign that shows signifier concept and A symbol is somewhat more complicated. Symbolic sign , arbitrarily defines signifier-signified relationship.

Ebrahim Nasrallah is the most remarkable Palestinian poet who has used symbols and sign language to write poems in favor of Palestinians and in objection to the arrogance and autarchy of the intervening forces as well as the occupation regime. Two of his works are “Fazihat-ol-Sa’lab” and “Na’man Yestared-ol-Looneh”, which include his most famous poems in criticism of war and colonialists’ injustice and oppression. In addition, his poems that invite Palestinians to fight and resistance are full of symbols and symptoms. This study is done by a descriptive-analytic method and aims to discover the hidden secrets of images as encoded on the covers of these two anthologies. An attempt is also made to survey the drawn images as meta-contextual concepts based on the semiotic theory. The results show that the studied images have a complete coherence with the content and the main idea of the works, and the imaginative and semiotic codes within these works are consistent with the main goal of the author and the content. In addition, the visual features including colors, lines, textures, spaces and shapes play important roles in the coordination between the designs and the meanings of the poems. This is suggestive of the poet's knowledge of visual perception. To design the covers of both books, the author has used spectral colors, whereas the designs in the subdivisions of "Na’man Yestared-Al-Looneh" benefit from a combination of white, black and gray spaces.