Sohrevardi’ s “ Simurgh-become hoopoe” passes by meandrous physical lingual paths and creates new concepts under Their influence. In The discussion of “ Simurgh-become hoopoe” by Sohrevardi, we are encountered with a type of indication that not only appears in The status of a bird, but also emerges in oTher status as well. Investigating this, we enter The realm of structural lingual substitution. In this study, The researcher has tried to investigate conversational and cultural functions with an analytical-descriptive approach in order to pass from a physical-action status to a symbolic tranxendental one and to delineate indication-semantics characteristics in The story of “ The Calling of The Simurgh” by Sohrevardi. “ Hoopoe” as a substitutional order in Sohrevardi’ s discussion, is gradually forgotten as a bird and is altered to a meaningful indication through The impact of conceptual transformation: in fact, “ hoopoe” is everything besides being “ hoopoe” . Such transformation that leads to an alteration from appearance to multi-conceptual and tranxendental type in language is called evolutionary path of indication.

During his/her suluk (spiritual journey) and intuition, a mystic establishes a relationship between himself/herself and nature and God, revealing something beyond reason. It is called "mystical experience". This experience is ambiguity when it comes in The form of language; in this way, different narrators create different narrations from "a single experience". In mystical texts, on one hand, The author tries to convey her/his thoughts, and on oTher hand, to "hide The secrets from strangers (na-ahlā n)". By using descriptive-analytical method and based on The ideational metafunction, The present article tries to study The role of "experiencer" in The philosophy of illumination (Falsafeh Eshraq). In his treatises, Suhrawardi, as The founder of this school of thought, refers to Themes like separation from higher world, spiritual nostalgia, removing barriers to suluk and meeting The old wise man, and focuses on spiritual journey (suluk) to The world of light and releasing from The worldly prison. The findings show that by overcoming The illuminate (Eshraqi) worldview, The relational processes have become mentalistic processes in The verbal sphere. Suhrawardi, first, describes The symbolic concepts with The aim of creating a tangible space, and Then, interprets Them by creating a space for dialogue. Finally, as The old wise man, he expresses The abstract concepts.

In part one of this article I reviewed The history of Asclepius and The Caduceus of Hermes as medical symbols and made a tentative suggestion of using The mythical bird Simurgh as an Iranian symbol of medicine. In this, The second part, I shall describe The evolution of The myth of The Simurgh and discuss The medical relevance of this bird in Iranian history.

Simurgh, a mythological bird, has long had strong presence in Iranian culture. Before The advent of Islam, it was present in Pahlavi works and after Islam it was present in mystical epics. This noteworthy element has attracted many talented mystics and has attained a transcendent and lofty character in mystical literature. Meantime, The sharp mind of Iran's most mystic poet, Maulana Jalal al-Din, has had different mystical interpretations from Simurgh. In Maulana's works, Simurgh sometimes refers to The perfect man and The united mystic and sometimes refers to essence of Divinity. Shams Tabirzi, love, spirituality, heart, and prayer, all of which have lofty meanings for Maulana, are enjoyably symbolized through Simurgh. The present paper deals with The various manifestations of Simurgh in Maulana's works.

Symbols are powerful images that articulate a set of cultural and mythological concepts in certain semantic clusters. These clusters produced through creative literary processes constitute a part of our cultural memory. One of The symbols is Simurgh that was generated in The pre-Islamic Persian texts and continued to remain in The cultural memory of The post-Islamic Iran. It has continued in The form of new articulations in Persian poetry and mysticism. These multiple articulations show that Simurgh in The Iranian culture has become a central signifier. Thus, an intertextual re-reading of The signifieds encoded in it can make The tradition of mythological and symbolic thought in The Iranian universe comprehensible for The new generation. Accordingly, by drawing on textual evidence from both The pre-Islamic and post-Islamic body of literature and by adopting The technique of close reading, The present paper makes an attempt to shed light on The rich symbolism of this bird in order to explore its semantic developments throughout The history. Moreover, it discusses how and why These semantic turns have taken place. On this basis, The present paper makes an attempt to answer this question: What is The difference between Simurgh in The pre-Islamic and post-Islamic literary texts and what creative manipulations in its form and content have taken place over time?

Symbols are powerful images that articulate a set of cultural and mythological concepts in certain semantic clusters. These clusters produced through creative literary processes constitute a part of our cultural memory. One of The symbols is Simurgh that was generated in The pre-Islamic Persian texts and continued to remain in The cultural memory of The post-Islamic Iran. It has continued in The form of new articulations in Persian poetry and mysticism. These multiple articulations show that Simurgh in The Iranian culture has become a central signifier. Thus, an intertextual re-reading of The signifieds encoded in it can make The tradition of mythological and symbolic thought in The Iranian universe comprehensible for The new generation. Accordingly, by drawing on textual evidence from both The pre-Islamic and post-Islamic body of literature and by adopting The technique of close reading, The present paper makes an attempt to shed light on The rich symbolism of this bird in order to explore its semantic developments throughout The history. Moreover, it discusses how and why These semantic turns have taken place. On this basis, The present paper makes an attempt to answer this question: What is The difference between Simurgh in The pre-Islamic and post-Islamic literary texts and what creative manipulations in its form and content have taken place over time?

Symbols are powerful images which, in one pictogram, contain a host of associated ideas or cultural myths. Today as a medical sym­bol, The rod of Asclepius with its entwined single serpent has been universally adopted, although this was originally a symbol repre­senting Asclepius, The Greek god of medicine, from around The 6th century B.C.E.

This is The first of two articles reviewing The history of medical symbols. In this first article I have briefly reviewed The evolution of The Greek god, Asclepius, (and his Roman counterpart Aesculapius) with The single serpent entwined around a wooden rod as a symbol of western medicine and have alluded to The misplaced adoption of The Caduceus of The Greek god Hermes (and his Roman counterpart Mercury) with its double entwined serpents as an alternative symbol. In The second part of this article (to be published later), I have made a tentative suggestion of why The Simorgh might be adopted as an Eastern or an Asian symbol for medicine.

This article is a semiotic analysis on a miniature painting of “Shahnameh Tahmasbi”- “Zal is sighted by a Caravan” or “Zal and Simurgh” painted by Khaje Abdul-Aziz in Tbriz style of Safavi period. At first a primary definition of semiotics, taken as an analytical method, has The potentiality to carry out interpreting deferent textual subjects. A kind of method of structuralism on cultural semiotics introduced by ”Yuri Lotman” in Moscow-Tartu school of semiotical studies, been taken as assistance to fulfill above purpose, which is based on studying paradigmatic and syntagmatic relations as well as denotations and connotations of The picture signs leading to a full explication of The painting. Levi Strauss considers semiotics to study different ways of transcending nature to The cultural situation from The classic period, and The importance of The dual contradictions in art interpretation has been focoused on. The super-model of Lotman could be divided into three models: First, nature as natural environment of human life, as an opposite for culture or super natural aspect of human life. The second, nature as 'Caos' or disarrangement, as an opposite to culture as 'Kosmos' or arrangement And The third, nature as an object of savagery, in opposition with culture as self-condition, or in anoTher word, self-oTher opposition.The result of this investigation framed within The coordinative relationship of nature and culture explains two generally different spaces of realism and mysticism. The corresponding links of pictorial and verbal signs help to understand how The temporal syntax of narration transforms to a kind of spatial syntax. Thus, The linguistic signs and rhetorical devices of poem, become translated to different states of simple pictorial signs while There would be a decrease of amount in literature an increasing happen in favor of pictorial text. ''Zal'' as ''Actant'' of The narration, connects The natural aspect of The picture which entails in this case, supernatural as well as mythical to The cultural aspect that seems realistic, and make a balance in The contradiction of These natural and cultural aspects, and connects The imagination atmosphere to The terrestrial space. The comparison between verbal and visual signs shows that The painter has a symbolic and reductional approach toward The text through translating The metaphors and poetical descriptions into conditional and clear color signs, using icons, symbols, and indexes for suggesting The mystical and epical space of The story, and translates The precious poems of shahnameh in a conventional but innovative way. In order to contemplate The pictorial system of The painting, signs of nature system, including elements of natural environment and signs of culture system, containing individuals and characters here, have to be considerated. The main speciality of this picture is The domination of natural space upon cultural one. At The final, There be explored how The image of “Zal” The main hero and Actant of The narration, reflects The cohensive unification of contradictory aspects of The nature and culture.