Communities’ worldview has an important role in shaping arts. Exploring the evolution of the Persian art and architecture indicates that, in different periods, despite the change of aesthetic and expression, there have relatively been some similar meanings in different forms of art. On the words, in different forms of art, expression might be changed but a unique meaning would bemarinated.In this research it is assumed that the roots of these semblances are in philosophical theories that have been dominant in the society. Art can be inspired by different theories, symbolism in Persian Mythological and mystical texts, and ultimately leads to the creation of a special aesthetic expression that could create a similar meaning in different kinds of forms.The results of this research indicate that there has been an obvious connection between the Persian art and architecture and philosophy. In Safavids, the combination of various philosophical schools led to the creation of one of the most glorious periods of the Persian art and architecture. The belief in the sanctity of the SYMBOLS of FERTILITY that are visible in the historical Iranian thoughtsas well as in various forms of art such as Anahita and tree of life have been replaced with waterfront and domes in the Safavids architecture. In all these shapes, a similar meaning would be visible.

In the present article with regards to pre-Islamic period resources and different religious backgrounds, the myth of Freidun and its development are examined in passage of time. After comparing him with some Vedic and Mithraic characters, it is shown that the unique task of this hero, who is the killer of dragon, is FERTILITY and precipitation. In resources belonging to Islamic period, Freidun loses his divine image and transforms to a king with super natural powers, but has some mythical motifs such as: learning the secrets, passing the hard exams, mystique relationship of the person with his/her own name, magic and sorcery, relationship with FERTILITY and establishing the feasts and rites that contain symbolic elements like cow.

The conception and creation of eternal samples is one of the most evident efforts made by Man from the very beginning of human life when he observed death and mortality and found all the world's manifestations prone to collapse and destruction. One of the most significant images related to the concept of externality and immortality is circular SYMBOLS. In fact, Man has represented the conceptions of eternality by these SYMBOLS. This conception has been represented sometimes by mental images and sometimes by visible samples. One of the most important features of this SYMBOLS (as that of other SYMBOLS) is its floating state which has manifested itself in different ways. Sometimes it represents holiness, sometimes reproduces creation of the universe and some other times entangles with other things indicating identical concepts. In this study, efforts have been made to disclose the relationship between the circle and eternality's well as with other concepts.

Religious beliefs in public memory has been appeared in myths and SYMBOLS of artistic works. So, In this paper we study the interval connections among visual, ideological and aesthetics SYMBOLS and the major beliefs and SYMBOLS in them has been cansidered. Many of these SYMBOLS had so many interpretations which comes from magic or ritual, so, in this research, we study Mithraism and Zoroastrian religions and understanding of thoughts and works with the name of art in religion. For this consideration, some interpretations, comparisons and suggestions of SYMBOLS has been used, also imaginable references has been expressed here and the hidden meaning full layers for bases of beliefs can be found in background of these SYMBOLS, is the sign of constructive roles of Iranian religions.This paper is an attempt for survey of Iranian identity by relying on great role of the reminder SYMBOLS of Mithraism and Zoroastrian religions in the way that we can use them in contemporary art and for performing the role of a media in the society and help to improve and support the solidarity arts of national culture of Iranians.In this survey we choose a group of Iranian graphic artists who are in different ages of Iranian graphic art, include: professor Gobad Shiva, professor Farshid Mesghali, Mr Farzad Adibi, Mr Reza Abedini, Mr Iman Rad and we study their art warks, due to the symbls of religious art works, as a result, we obtain some data that show them in a schedele.

The study of the social history of the followers of any religious school of thought needs close examination of their lives and of every detail of the process of the formation of their history including social SYMBOLS. The SYMBOLS are among the components which have influence on social history, which is affected by different factors. The study of Shi'a’s social history is not an exception. The present paper mentions some linguistic SYMBOLS of Shi'a’s social history at the time of the presence of Imams. There are some examples of Shi'a’s conduct which have a social nature to characteraze the Shi'a so much so that by observing their conduct, one can distinguish Shi'a’s beliefs and conduct from those of the non-Shi'a. There are other exampes which originate from religious obligations and Shiite beliefs and doctrines which have taken form and become Shiite SYMBOLS as a result of the occurrence of significance events in the Shi'a history.

During the recent years, many studies have been conducted on the reformist attempts, and some scientists have played a key role in this field. One of these scientists is Tammam Hassan who has presented his reformist opinion in his popular book named “ Meaning and Basis of Arabic Words” . In the fifth chapter of this book, Tammam Hassan has explained about vocabulary and spiritual SYMBOLS and role in understanding the meaning. Moreover, he considers eight vocabulary SYMBOLS and nine spiritual SYMBOLS and explains the effect of each of them in understanding the meaning. Introducing correlation of SYMBOLS’ theory, this article aims to investigate the dimensions of this theory and review the effect of this theory in understanding the meaning. Results of research show that this theory is capable to review different texts and allow researchers to have comprehensive view toward text and get the meaning of that by vocabulary and spiritual SYMBOLS.

Mandala is one of Jung's most important archetypes associated with some numbers, geometric shapes and concepts, the most important of which is unity and the most prominent geometric shape of the circle that can be observed in art and literature. Kurdish. Child and adolescent storytellers have used mythological archives as a tool to enrich their stories. Mandala is one of the archetypes used in the stories of children and adolescents. Given that children's and adolescent writers tend to be mythical and need to be scientifically applied using this efficient tool, this paper has attempted a library-based approach with a descriptive-analytic approach. Examine Mandala in the stories of children and adolescents. For this purpose, Mandala is first briefly defined and then this type of archetype is analyzed in the stories of children and adolescents. Mandala appears to be expressed in the stories of children and adolescents in SYMBOLS such as time, moon, sun, cave, fountain, numbers, and circle.

This article comprises three parts. The first section deals with the evaluation of geometry & its relation to the parallelism among the main three fold worlds [intellectual world, absolute imagination world, & material world]. In this section, we considered Pythagoreans, Plato, Ibn Sina, Ekhvan alsafa, Abu Reyhan Biruni and Rene Guene view points about the symbolic position of geometry & its relation to the spiritual insights. In the thoughts of these figures, geometry describes the super natural realm & cosmic lives of the heavens by a philosophic language & by offering interior insights leads the soul to the real existence. In Ekhvan alsafa's view points, geometry splits into two Categories of sensible & rational & both are considered as a new way in recognition of the wisdom essence & the nature of the soul. The second section deals with geometric position of the existence system in creating the order & unity of the world components. In this section the cosmic orderlines & parallelism of the symbolic appearance of god's justice in proportion to the inner merit &, in other words, the worth of every thing are explained. Third section is allocated to the relationship between geometry & monotheism insights & also some meanings of geometric SYMBOLS. The presence of geometric structure in the abstract styles of geometric ornaments, Islamic, Khatayi or architectural forms & volumes is adopted from the holy principle of monotheism. The essence of monotheism in the field of visual imagination is manifested in the geometric crystallized forms & by itself forms the essence of the Islamic art. At the end of this section we deal with the meanings of the main geometric SYMBOLS: point, triangle, circle & square in the obtained view points.

Molavi, the famous poet and gnostic, has highly used Quran's verses in his poems especially in the form ofSYMBOLS. The present article attempts to study the application of Quranic terms and compounds by Molavi. Additionally, the symbolization of prophets' mystic life in Molavi's Mathnavi along with some examples is discussed.