There are certain relationship among the symbols of power and the power concept as well as political myths. The symbols of power and their mythical meaning are coneptualized through political believes. The common functions of all symbols and myths of power revise in their structural coherence. This essay tries to research and analyze the symbols of power in the Khaghani’s poems according to structural functional theory in order to show the structural coherence of power symbols, their meaning and their common function. In this regard through the analysis of his poems, we will try to provide a clear image of the structure of political sphere and power structure in the poet’s period.

The last two decades have seen a gradual shift in the mourning ceremonies pop tune. Using western pop tune in delivering eulogy containing certain non-religious terms in the form of dialogue and holding mourning ceremonies which disregard religious precepts are two main causes behind the shift in the mourning ceremonies away from sanctity. These two factors have influence the mourners through soft power and changed their attitude. This paper investigates the effect of pop music, one of the symbols of western soft power, on having a pop-orientated eulogy and its effect on the change in the values of mourners. About 200 Persian and Turkish videodiscs, which were released in the period from 1382 through 1392, have been investigated through quantitative content analysis. The results of the research show that, first, there is a meaningful correspondence between the concepts related to the eulogy lacking in sanctity among the statistical samples of both of languages, which indicates that eulogy has become distant from its religious entity and the eulogy which is devoid of sanctity is prevailing. Secondly, there is correspondence between Persian and Turkish eulogies concerning their lacking in sanctity.

During the reign of Fath Ali Shah Qajar, Iranian`s Painting achieved a new step and excellent conditions caused revival of art. In order to display the king's power, some of painters such as Mihr `Ali, showed the simbolic king's figures by a narrow waist and broad shoulder like Rustam, Iranian champion. The resplendent royal portraits of Fath Ali Shah, the pre-eminent ruler of the Qajar dynasty, is an exemplary model of the extensive canon of life-size portraits commissioned by the monarch. Such paintings immortalised his rule of Persia, both internally to the Iranian populace and externally to overseas governments and royalty. Well-versed in the power of images, Fath Ali used painting to demonstrate his authority, wealth, and accomplishments. In fact, the sense of splendor, strength, and stability that these cultural productions projected present a very different picture from the one offered by historical facts. Fath Ali Shah’s Paintings were sometimes sent to foreign leaders as displays of the dynasty’s prosperity and cultural acuity. Artists often incorporated European techniques into their work. Frequently, however, some images decorated royal buildings at home, where they were intended to awe and impress visitors. Continuing an ancient Persian tradition, Fath Ali Shah`s portraits were venerated in much the same way that religious images were. Fat'h Ali Shah commissioned great numbers of lifesize portraits of himself and his sons, works which formed the backdrop to court ceremonies, the works, painted by Mihr 'Ali .He portrayed Fat'h Ali Shah in his many stately roles, and were intended to show his power as a ruler rather than to be realistic portraits. As a result, the works are heavily stylised, are painted in rich, deep tones, and are filled with symbols of power. The archaeological findings in the Sogdian state where located in the ancient Iran, have also displayed the collection of some artworks like handicrafts, coins and murals. Studies show that the features of Sogdian figural patterns are formed by jewelery, crown, narrow waist and broad shoulders. Comparing the visual and conceptual patterns used in the painting of Fath Ali-Shah Qajar that painted by Mihr`Ali and some Sogdian coins, wooden shields and mural paintings are the purposes of this comparative study.We try to answer these questions: What are the features of visual patterns used in the Qajar and Sogdian art? How to describe the similar concepts in these works? This visual research described a qualitative method of visual content analysis and the data have been gathered through a documental and librarian method. In order to compare the similar patterns used in two art periods, the notion of Khshathra Vairya is required. Khshathra Vairya has centeral role in Iranian ontology and Zoroastrian belief. It seems that recognizing the various aspects of Khshathra Vairya`s concepts help us to understand the artworks in two different periods.The most important finding is that the common visual and conceptual patterns used in the two art periods referr to revive the ancient Iranian philosophy and divine kingdom.

The theological-religious influence of the eulogists in the social body, mosques and religious ceremonies in the Islamic Republic of Iran and the support of some elements, layers and symbols of power of this group in important political developments such as elections and ... cause their entry and influence on power relations. It has become a pressure group and a beneficiary. However, the policy of religious eulogists and poets in our country is not well coordinated and this issue has often created tension for the system and has caused the downfall or deviation of some religious eulogy and poets and political groups. Using the descriptive-analytical method, the present study focuses its study and study on praise and politics, and tries to take a brief look at the history and the current situation of holding eulogies and ritual poets, and then to examine the processes that have led to the formation of political eulogists and, consequently, political eulogy in the country.

Griffin is a famous mythological hybrid creature, which is made of two other powerful animals: the lion and the eagle. This hybrid animal connects the powers of the lion, as the earth’s king, to the powers of eagle, as the sky’s king. So, it is considered as one of the most important symbols of power and kingship in every civilization. Although some remaining instances in Egypt show the image of the griffin, but according to the research results of the Ashmolean museum, the Elamites were the first people to use the creature and soon after, different kinds of the animals were used in other civilizations like Mesopotamia, Egypt, Greece and even in the Far East. The Greeks used this motif enthusiastically in accordance to their artistic methods. So, the griffin became a common motif in Greek art. This research is a content analysis of different kinds of the griffin motif in Iran and Greek.The research is based on studying 145 samples of the motif from both countries using the relational method in the final analysis. The aims of the research are to analyze the motif according to the mythological beliefs. It is sought to find the answer to two main questions about the griffin motif: 1- what are the similarities and the differences between the motif in Iran and Greece? 2- How do the mythological beliefs affect the form or the usage of the griffin in both countries? The study is categorized into three aspects: first, the origins of the griffin are studied. Second, the form and shape of the griffin are discussed based on the samples. This includes the comparative study of the form and shape in both countries. In the third part, the mythological analysis of the motif is conducted according to the myths related to griffin. The results of the study show that the methods used in illustrating the griffin motif are according to the artistic methods of each country. The griffin has commonly been used in Iran since the Elamite era, but it has been used in Greece just after 1700 BC, in Crete, during Minoan art. The griffin in Iran has different forms and styles while in Greece it remains in the basic form as the combination of an eagle’s head with the lion’s body. Besides that, the Iranian form of the griffin was used as the schema for the Greek types. The open-mouthed forms of the griffin were common during the Parthians of Iran, and it became the original form of the griffin in Greece. However, it should be taken into consideration that in Greece, the griffins were more natural and energetic in design. The Greeks tended more to make busts of the griffin, while in Iran its reliefs had been more common. In Iran the griffins are the guardians of the winged disc, tree of life or the fire altar, and the viewers of the king’s religious party; beside the king in formal ceremony or alongside him in battles. Sometimes the king haunts the griffin. The haunting scenes of griffin by the king may convey symbolic concepts of victory or power. The Greek griffins are also showed as the guardians, but they are always in battle with the gods’ or goddesses’ enemies. Sometimes the gods Apollo, Dionysus, and the goddess Athena ride on the back of a griffin. While the Iranian types of the griffin are always sitting on hind legs, sitting, or standing straight and calm, the Greek griffins are open-mouthed, roaring, and even in attacking position. Another important characteristic of the griffins is their horn, and ears. Sometimes the griffin has two horns, which is the characteristic of the Iranian types. The horns show the godly, manhood power. The ears belong to donkey or horse, and showing them as a part of griffin’s body affects its concepts, and that’s why the animal is a symbol of wisdom. It seems that in Greece, accompanying the gods can simply change the roles of the griffin to a divine beast, but the symbolic concepts of griffin are more effectively used in Iran. The griffin in Iran is always showed in great serenity with dignity beside the king. In Iran some other related symbols to the griffin are the life plant, and the winged circle, but they have never been used with the Greek griffins. It is obvious that the griffin in Iran has the highest level of power and dignity. In both countries, the griffin is the most important symbol of the great power; the power that in Iran belonged to Inshushinak and Mithra, while in Greece belonged to Apollo, Athena and Dionysus. The creature is connected to the heavenly symbols of the sun and lightening, and is also considered as the symbol of protection, victory and wisdom.

Gagik king built the church in 10th century AD in the Aghtamar Island in turkey called holy cross. It was a unique example in the Christian art and one of the unique masterpieces churches in Armenian style. Relief of this church can be considered leader of relief of monuments of Christianity world. Many of the themes and style of the relief church is Sasanian style including motifs of plants, animals, mythical, human masks and kingdom motifs. This research studies relief of Aghtamar church and influence of Sasanian art with the descriptive and comparative way. The question that arises in this context: which Sasanian motifs affected on relief of Aghtamar holy Cross church and what was the reason for this motifs? The aim of this research is a comparative study of the Holy Cross Church Aghtamar motifs and designs and concepts Sassanid era and identifying common motifs in the decoration of the church. Based on these questions the research objectives identified by the Sasanian arts in decorative motifs carved church Aghtamar and understand the reasons for these patterns is in the Holy Cross Church. New wave effect of Sasanian products in 10th century AD emerged not only in Islamic countries but also in the Caucasus Christian kingdom and Constantinople, Sasanian motifs transferred to the Armenian and holy cross church by Islamic art. Including hunting scenes, motifs of animals, birds inside the medallion, senmruv and combined beats.. Some of the motifs in ancient Persia were signs Khvrnh. Some of these roles as represented freedom, but also a greater emphasis on the concept of the monarchy. These motifs are as symbols of the monarchy in relation to relief areas in the view of the church. Motifs of griffin and eagles in the southern facade of the church that represents the image of King Gagik and on the right side of frame, the bird with head of ram has shown .Their role as symbol of royal power and glory illustrates most clearly . Many of the motifs of the Church of Aghtamar originated at the end of Sassanid art. Although stylistic details show that the actual patterns that were working on artwork during the Islamic era. The traditions of Sassanid art heritage that has lasted for centuries in the art of other lands.

In this paper, we use Critical Conversation Analysis (CCA), Semiotics and Membership Categorization Devices (MCD) methods to conversations analysis a Teahouse customers in Mashad city. Our main concern is that to show how this conflict reveals itself in a shared memory of several customers who confront formal power, and how in expressing such memories, we observe signs of resistance, even in the lowest levels of social life, in a life world arena. This qualitative study within three months of the study and a researcher in the field of audio recording of conversations and analysis of conversations is replication rules. A purposive sample of four main groups present in Teahouse and conversation among members of the group, which included a diary of humor is the face of official symbols of power, has been studied. The results show that the members of the colony as Teahouse indirect method, where groups such as the tea itself, the humor of his memories of dealing directly with the established authority, a social indifference in the face of pressure the formal powers of everyday life.

Today what is important in the relations between the countries are capacity of the country's soft power in the international environment. International environment in the transition phase Receptive the elements and implementation of public diplomacy and culture. Because of the cultural nature of Iran's Islamic Revolution, the culture of the special position in the foreign policy and one of the important achievements of the Islamic Revolution Islamic Revolution on cultural values forms the Islamic model of society. In exporting the Islamic revolution and strengthen cultural soft power Iran, Hajj played a decisive role since the Islamic Revolution. Studies show that one of the most important symbols of the Islamic Revolution's soft power can be seen as a revival of the Ibrahim hajj. Ibrahim hajj can be realized expression of soft power is the ability to influence the behavior of the Islamic nation without the threat or charges to be considered significant. Islamic Republic of Iran by way of explaining the ideas and ideals of the Islamic Revolution in Hajj justice planned to be desired and desirable result of its indirect methods to achieve arrogance and Islamic Awakening.

Maces are a long-standing (old) and powerful tool used in hand to hand and group wars. In addition to the martial aspect, they have had ceremonial, ritual, and mythical aspects. Mace is one of the most ancient weapons in the world and one of the most widely used weapons of the Hindu and European heroes and gods, and has been mentioned as the gods and heroes warfare in Avesta and Islamic texts. Due to the development of warfare, maces of simple forms into transformed the various geometrical, spherical, conoidal, bladed, chained, zoomorphic, dimonic and anthropomorphic forms. Often it has a strong body of wood or metal, and a heavy head of copper, bronze, iron or steel. Maces with various sizes can be regarded as symbols of power. Now the question is that how was the formation process of war maces in illustrations of these three Shah names, Baysonghori, Tahmasbi and Rashida? The purpose of this study is to know the types, evolution and depicted version of war maces in illustrations of three mentioned shah names. The reason of the transformation of the maces was the belief of gods and heroes, climatic and social conditions and progress in the manufacture of war weapons. Maces show the bravery of heroes and to create fear in the enemy. Mythological stories and the ceremonial aspect of war maces have been illustrated by the illustrations in these Shahnamehs. The research method is descriptive-comparative and the data are collected by using library studies, documents, creditable scientific sites and museums.