In symbolic Persian mythology, lighting and light has arisen from the dome of the sky. The sky has been imagined like as a dome of rock, that light has born from it. From the aspect of mythology, borns of Mithra from a rock cliff, is the metamorphosis of same myth. This symbol along with other symbolic images which originated from Mehr’s stories and concepts whom was the Saoshyant of Iranian people in old periods, had changed a lot during centuries and in variety forms has had multiple appearances in the symbolic and visual history of this land. In this article Symptoms and traces of this ancient religion, which had the global spread, has been reviewed and analyzed from the pictorial aspects and the concepts embodied in it. because Mehr rituals is one of the religions in which iconic images as the visual language to transfer of concepts and principles of this religion and its followers have been used and over time, sometimes with the same meanings hidden in these images and keep them next centuries with changes in the same way and with the broader concept have been used.The basis of this research is a comparative study Research documents and citing the mythology, history and religions of ancient Iran, and especially by sources close to the Avesta, the symbols of the conceptual approach have introduced and then by searching the traces of Mehri ritual elements, their symbolic roles in different periods of Iranian art and related samples have been investigated. This text wants to consider the Mithraism elements which are come to the other artistic MOTIFS during centuries by comparative view and with descriptive and analysis methods.The results are shown in 4 paradigms.A lot of MOTIFS from Mithraism tradition are seen in later periods.Those MOTIFS which are seen in other artistic works carried the same meaning as Mithraism MOTIFS.Some MOTIFS are omitted because of conflicts which were existed between them and the principles of that time.Most of Mithraism MOTIFS are used as ORNAMENTAL MOTIFS in later periods.

The architecture of Qajar period can interestingly be seen in its houses which contain decorative elements such as Orosi, this Orosies include special pattern and design in which considering the influence of west architecture and decline of traditional elements are being forgotten.The type of this research study is descriptive -analytical and collection method is library - athletics which plans to study Orosies of Qajar houses based on Shams Ol Emare in Golestan palace, Masoodie house and Sahebgheranieh house.The purpose of this research is study of patterns of these houses and accommodating them with each other and adapting this main pattern with other Arts of Qajar period.The result of this study is that all the patterns are curved and in the form of paisley design and tetramerous and floral elements that have been used in all of Qajar arts, it is inferred that the traditional design in Qajar period have been used in all kind of arts, and in each field based on its material and its tool it has been to form an elaborate work of Art or just associated with a simple one.

Felt is a kind of carpet that made from rubbed wool. Felt has an important role in Kermanshah and used by people from old ages. The weather of this area is a witness by itself. Felt maybe make without any design in some parts of Iran but not in Kermanshah the MOTIFS are important for felt makers and all the products from mat to clothes and even saddle horses have some MOTIFS. These MOTIFS usually have seen on the sidelines or as a plant or animal motif in the center. The felt motif is not pre-determined as a carpet but it is created during the work by felt makers based on buyer’s willing or felt maker’s mind. This is one of the unique and artistic characteristics of felt making that far from traditional and thousand year’s designs sometimes create simple and innovative motif in the moment. These MOTIFS are sometimes plants, objects or even animals that have rooted in people’s beliefs. Kermanshahan is known as one of the most important centers of felt products due to its climate and extensive livestock for a long time. In this research try to record and present the felt MOTIFS of this province which seems necessary.

Lullabies are one of the most important and valuable branches of popular culture in any ethnic group. The theme of lullabies is the reflection of thoughts, beliefs, spiritual reflections, social and political concerns, emotions, prayers and individual and social aspirations that can affect the geographical, cultural, social, and political conditions of a society. Because lullabies are not specific to a particular culture or country, they can have a lot in common, which may be in terms of rhythm, theme, concepts, as well as religious topos, natural, social, geographical, and political MOTIFS and themes. In this descriptive-analytical study, 40 written Sabzevari lullabies have been collected by the library method to be examined. While identifying the method of the motif formation in them, the most commonly used MOTIFS are presented in order to introduce the native lullabies of Sabzevar and to understand the reflection of religious ideas, social conditions and personal concerns of mothers of that time. After examining the various MOTIFS in these lullabies, we were able to divide them into four categories: religious MOTIFS, nature, places and relatives. Among the MOTIFS used, the motif "flower" (the name of different types of flowers) with 26 items and the motif "Baba" with 16 items had the highest frequency. The results of this study show that the speakers of these lullabies have used a variety of MOTIFS to enrich the theme of their lullabies because their poets have based the existing images and themes on various MOTIFS, most of which form a network of images, their intellectual and emotional themes. Without analyzing them, recognizing the main peculiarities of the concepts in these lullabies could not be understood.

Now a day’ s jewel designers have been used MOTIFS which have been taken from Persian traditional culture and typography. These types of MOTIFS were led to writing MOTIFS and development of discursive challenge about the identity of jewelry. The aim of this study is how new signs of “ written MOTIFS” have clearly appeared in Persian contemporary jewelry. This research has been done by the descriptive and comparative method based on Laclau and Mouffe's discursive analysis and then two group of jewelry which are inspired by “ writing MOTIFS” were analyzed by “ semiotics of writing” . In conclusion, regardless of constraints of merely traditional decorative functions of the jeweler, the emphasis on the importance of the context of a written motif, the transmutation of massage to the audience and at last but not least conversion of jewelry to media are the main factors of the transformation of a visual motif to written MOTIFS.

Studying Persian heroic epic verses affected by narrative tradition and Shahname is one of the areas that can be analyzed from different perspectives. Samname which is considered as the last national epic in Persian Literature and apparently is written in late 7th century and early 8th century – if we accept to be written by Khajooye Kermani- is among these works which is similar to Shahname for it is influenced by epic tradition and existence of a romance element on the one hand and a hero who escapes using his own ways to reach his beloved on the other hand and these features make this work a heroic romance. The present study deals with recognition and analysis of fictional MOTIFS of the work in order to compare it to other fictional and narrative works and therefore to determine better role for Samnameh in evolution of different literary genres in Persian literature. In this study, supernatural MOTIFS including heroic- crafty, romantic and dignity MOTIFS are among most famous MOTIFS applied in this literary genre. Main characteristic of choosing and investigating the MOTIFS in this work is existence of two factors i.e. repetition and motivation which are suitable criteria for offering frequency chart to be compared to other Persian epic or romantic verses.

This text is an attempt to show some figurative MOTIFS in saqqa – talars’ paintings. Even 3 centuries after Islam entered Iran, the North was still populated by followers of the 'Mazda'. It follows that Northern Iran is the best place to study the influence of Mazda'ism on the social and cultural lives of Iranians. This paper describes a type of traditional architecture of Northern Iran, which the author believes to have originated from ancient Iranian culture. I find that this construction is mostly made of wood and is called "saqqa – talar" to natives. ”Saqqa“ means one who gives water to others. On the other hands, all Saqqa – talars are devoted to Abolfazl, the valorous brother of imam Hossein, the third Shiite Islamic leader. In spite of this , there are certain symbols and signs in the Saqqa – talars which have historical importance and date from the time when Anahita was worshipped. These are signs directly or indirectly related to water, such as serpants, dragons, horned serpent- dragons, the two guardian angles of water and greenery ( Khordad and Mordad), the king of rain among others. Saqqa – talars are present in holy places like shrines (imam- zades) , burial grounds , and "tekyes "( which are also traditional architectural structures) . These uniqe constructions are found exclusively in the north, especially in Mazandaran and are beautifully ornamented with attractive designs. These are dichotomized based on varieties of forms and content: a: Religious designs b: Secular designs Prophets , imams, Myths and epics , Folklore and legends , Ancient Farsi literary texts , Astrology and constellations , Fantastic creations and Geometrical MOTIFS are most decorative motive. Calligraphy also plays a very important role in defining the identity of Saqqa- talars. Also noteworthy are the intricate and beautiful woodcarvings. Various Pillar forms, Pillar heads sculpted like dragons or human forms are all artistic displays of the abilities of local artisians. I conducted interviews in 2 Saqqa– talars, Kordkola and Shiyade and attempt to show how this MOTIFS can identified Iranian art and folklore. In this comparative study, Tools analysing motives based on the concepts myths, epics and religious symbol .Studying this decorative painting, can assist us to become more aware of reality, identity and content Of MOTIFS and the roles that played in history art of Qajar period in Mazandaran. Common elements and MOTIFS in two saqqa- tallars are religious usage, wooden structure, epic and litrature content. Some different elements are in dimension, content and angle figures. The Lion and Sun motif (shir o khorshid) is one of the better known emblems of Iran, and between 1964 and 1979 was an element in Iran's national flag. Although first attested in the 15th century, its symbolism is significantly older and is tied to notions of power and kingship. This motif is common in saqqa- talars painting.