The success of handwriting recognition methods based on digitizer-pen signal processing is mostly dependent on the defined features. The strong and discriminating feature descriptors can play a main role in improving the accuracy of pattern recognition. Moreover, most recognition studies utilize the local features or a sequence of them, whereas it has been shown that a combination of the global and local features can increase the recognition accuracy. This paper addresses two topics. First, a new high discriminative local feature, called Rotation Invariant Histogram of Degrees (RIHoD), is proposed for online digitizer-pen handwriting signals. Secondly, a feature representation layer is proposed, which maps the local features into the global ones in a new space using some learning kernels. Different aspects of the proposed local feature and learned global feature are analyzed, and its efficiency is evaluated in several online handwriting recognition scenarios.

A recurring subject in mystical literature is the study of mystical literatures’ common symbols. The commonality of symbols cannot be due to but the existence of a unique archetype which has a unique manifestation in diverse traditions. One of such symbols is ‘ the loss of feathers’ . It has two main significances, one is the renunciation of temporal power which is the prerequisite of acceptance of the divine world, and another is the loss of the spiritual power and, in its wake, the fall caused by indolence in spiritual practice and indulgence in passion. Instances of the latter may be found in mystical and spiritual literature of the Hindus, Greeks, Arabs and Persians, and as such can be presented as a common symbol in literature, religion and beyond it, that is, the unique Truth from which all religions spring forth.

Understanding a great epic work like Shahnameh needs an exact knowledge of mythological systems and disciplines. These disciplines are sometimes bearing different aspects of meanings that represent symbols. "Three days and three nights" is one of these symbols. This symbol covers different areas of meanings, including: perfection, conflict, contradiction, hesitation and delay. The central feature of all these symbols is an internal or external conflict with negative forces and crossing a threshold. The purpose of this article is to analyze and interpret some stories and rituals of Shahnameh based on the symbol of "three days and three nights" and also revealing the hidden aspects of the symbol. In order to do the research better, the writers of this article have collected different samples and have analyzed and interpreted them based on the meaning they convey, as well as referring to pre-Shahnameh texts.

The ‘Light of God’ is the main sign and the key to understanding mystical texts. Sufis propounded important views about the ‘Light of God’ by their mystical experiences. In Sufi's commentary on this notion, the chief mystical idea is ‘union with The Absolute’. There are different symbolic meanings for the ‘light’ based on mystical and spiritual experiences of Sufis. However, the fundamental concepts such as ‘self-knowledge’, ‘theology’, ‘pantheism’, and other fundamental mystical subjects are included in the basic frame of mystical experience. This article attempts to explain Mulānā's mystical experiences of the ‘Light of God’.

Colors are a form of expressing emotion, thought and experience of people. Paying attention to them in mystical texts has high importance due to the role of interpretation at recognition of insight of Sufi poets. Necessity of current research is searching secrets of colors that Attar has interpreted it into symbolic language of esoteric concepts. Reopening means symbolic meaning of colors applied at four Masnavi of attar and achieving hidden and mystical concepts provides new field for perceiving meaning of his poems. The fundamental question is that which colors and with what symbolic concepts has reflected in poems of sheikh attar? The writer in this paper besides considering four mystical poem of the poet faced symbolic colors. These colors were white, black or blue, Indigo or turquoise, yellow, green or red. Result of this research showed the reality that Attar had much interest to using symbolic language of colors for expressing mystical concepts. Colors in poetic language of Attar with belief, mythological, literal and mystical literature has had negative and positive interpretations.

The explication of the role of fire in, and its profound impact on, human communities throughout history requires multiple ranges of knowledge such as history, psychology, sociology, physics, ethnology, anthropology. While the present paper does not utilize all these principles, it argues that fire may encompass a broad range of meanings that enable this element to possess a receptacle of diverse and contradictory senses and symbolic concepts. To address some of these symbolic characteristics, the authors try to analyse its varied meanings through an analysis of some of the dichotomies it has obtained, two of which are fire as destructive/ constructive force and a life-/death-giving element. In order to do so, the authors base their argument on a tradition which, compared with other cults, reveals the symbolic characteristics of fire more conspicuously and more succinctly, namely, Zoroastrianism.

The symbolic role of the sun comes from religious beliefs of the Iranian people and is a reflection of their ideological, philosophical and Islamic thoughts seen many times in our history and is quite tangible. This design that has been inherited from our ancestors has located itself very well in Islamic works of art despite religious, cultural and social changes. Since it carried deep and meaningful thoughts it was very easily accepted by Islamic mysticism.As a result it has permanent indicators that could direct itself to the right side with all these changes. Maybe the inspection of this research is the most important factor in the shaping of its conclusion i.e. considering the route of sun symbol and its placement from old time to the present and its flexibility towards of social and religious changes and its proper placement in Islamic thoughts and mysticism.

Earth is one of the outstanding natural objects in the Qur'an with a variety of roles. Studying the religious history of this cosmic object, researchers have found that it is of high sexual importance among several Semitic tribes and the ancient beliefs of the different regions including the Mesopotamian. Almost in all of these regions, the earth is manifested as a female being, and its gender is female. The present study intends to examine the earth in this historical-religious context and reveal its feminine manifestations in the Quran. Finally, it discusses the earth's archetypal aspects, based on the Jungian concepts. The main questions are as following: What role does the earth play in the mythical beliefs of the Semitic tribes, and what are its main functions? What is the history of the earth's feminine roles in Semitic cultural beliefs? Can such feminine roles be traced in the Quran? If so, what are the most important manifestations of this femininity in the Quran?; and What is the message of the Qur'an in this regard? An examination of the Qur'anic verses reveals that the Quran has taken the archetypal advantages of the earth, with its positive approach to the Anima archetype, and has found the various manifestations of the earth's femininity by notions (ideas) such as "the similarity of the woman and the tilth" (Q 2: 232). According to the results, this archetype mainly makes humans' conscious minds to know the place of Allah in the world and distinguish His power and high position from those of the earth. In other words, such verses seek to reject the beliefs of those pagans who worshiped the earth or thought that the earth is superior to Allah. The Quranic hint at mythological beliefs on the similarity of “ the woman and the field” (farm), on the one hand, is to emphasize the sanctity of marriage, introduce it as a religious ritual and then pay attention to its spiritual purpose, and on the other hand, is to advise better communication with women, that is, a proper, pleasant and harmless sexual relationship.

By composing “Ghoghnoos” in 1316, Nima Yooshij began using symbols in contemporary poetry. After him, strong and serious followers were found. By contemplating and meditating on Nima’s poem, especially the poems composed after the mentioned year, we can find the origin of his poetic symbols. The main origin of his symbols is, first, nature and its various manifestations like time, place, some of Four Elements, birds, animals, jungles, trees, etc and then humane symbols which are often related to native characters and people of Nima’s living area. In his poem there is no trace of legendary and epical characters such as Rostam, Esfandiyar, Afrasiyab, and the Islamic characters such as the Prophet of Islam, Imam Ali and other leaders as symbol. Some of his other symbols are rooted in our past mythology, tradition and culture.In this article, by examining symbols in Nima’s poem, it is clarified that most of his symbols are innovative and personal. Of course, even his most subjective and personal symbols originate from the observable and objective world and the environment of the poet.

Literature is an exhibition of ideas and thoughts of nations in which the culture of any nation will be exhibited. The art of poet and writer is that the beauty of nature as it is or as nature lovers are seeking for is linked in it through all its aspects and in a very beautiful format, so that both beautiful thoughts and notions, be it delicate or profound are gathered, and the most attractive and smooth images and mental imaginations and formats are served. The Gnostic literature of oriental nations is filled with such beautiful pictures that disclose all kinds of features pretty well. One of the relevant poets is Sahib Bin Ebad whose quartets is the cup of tea of literary persons, poets, Gnostics, and sufis. In his quartet which is the symbol of the joy of wine and delicacy of goblet, Sahib has beautifully and wonderfully reflected one of the keen and delicate issues that has caused the uproar and arguments however irrelevant, and in fact the one stemmed from the discrepancy in the main comprehension of the word itself.Now this paper strives to investigate such an attractive and charming quartet that by means of khamri terminology has addresses the monism and unity used by so many persons.