A symbol and code is a type of expression that contains an intangible concept and truth and allows the speaker to get out of the limitations of sensory language. Rumi, who is a mystical poet, uses symbols to express his mystical ideas. This article examines the purpose of Rumi's parrot symbolism in Shams's sonnets and tries to show his fascinating and mysterious interpretations of this symbol. More than 80 verses are the frequency of use of parrot in Shams's sonnets. From their symbolism, important concepts such as the flight of the soul to the upper world, expansion and contraction, mystical zeal, silence, the association of angels, the messianic soul, happiness and its opposite relationship with the raven and the owl are extracted. This article tries to explain the poet's thought pattern regarding the parrot in Shams's sonnets with the descriptive-analytical method and by examining the mentioned concepts.

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.

Muslim interpreters and thinkers have never used phenomenological and liberal approach to holy texts and religion. Generally speaking, religious interpreters and thinkers' research are formed in an intra-religion context. Therefore, Islamic interpretations do not much expound the roots and symbolic meanings of the Quranic verses. Few discussions about the symbolic meaning in the Quran can provide the theme of a comparative review. The present paper briefly studies the symbolic meaning of the number seven which is mostly interpreted as “multiplicity” and “perfection”. While western interpreters and scholars of religion have fully discussed about the roots and reasons for mentioning "number seven" in Apocalypse, the most important approach used by scholars of religion and Christians is that using number seven in Apocalypse is symbolic in order to show multiplicity or perfection. This paper seeks to investigate the existence of the principle of symbolism in the Quran and Bible and provide a comparative review of the symbolic meaning of number seven in the Quran and the Apocalypse.

In the Kantian symbolism, it seems that there is a different kind of rule or modes of presentations, which sheds new light on the concepts or ideas of reason. In this way, the types of presentation is indicated by the description of the various types of concepts that are presented in intuition in the process of cognition in Kant's philosophy. The first step is the introduction and identification of all kinds of concepts and intuitions so that we can clarify the role of mark, characteristics and example in this step. Schematisation is explained through emphasis on the relation between concepts and pure intuition or spatiotemporal determination in the mechanism of cognition so that the distinction of the schema from the symbol is designated. In the next step, we clarify the role of symbol in the judgment of taste with an emphasis on free and adherent beauty. Consequently, we make bright the meaning of the judgment like “ beauty is the symbol of the morally good” . Finally, with emphasis on two types of natural and artistic symbolism, we also clarify how the symbol forms. Relying on aesthetics and art is to understand its implications. In order to define the symbol in Kant's thought, two negative and positive ways have been used. So the symbol is not mark, example and schema as the the rule of production. The result is that the symbol is a kind of reflective rule which will form in a different situation. Ideas of reason, aesthetic ideas, or in front of natural beauty and artistic representational art there is the formration of the symbol or special spatio-temporal determination. As a result, the Kantian symbols, don`t form the foundation of mechanism of cognition, but the schema will form to this fond.

The current pain management interventions are emphasizing on conscious regulation of pain-related behaviors and emotions. In contrast, novel interventions like priming-based ones suggest that behavior- and emotion-regulation happens without conscious selection. Based on the perceptual symbol systems theory, this study investigated the impact of nonconscious exposure to a visual symbol of healing, upright posture, on the perception of pain. A sample of 71 students (44 females, 27 males) from the University of Tehran completed two coldpressor tests (aiming at producing acute pain in lab), examined either visual symbol effect of control stimuli. One of the most prominent symbols of healing is an upright state of body (vs. down state of body). In an organized timing during coldpressor test completion, the visual symbol of healing and the neutral stimulus were presented to the subjects and in both tests using Visual Analogue Scale (VAS), an online and repetitive assessment of pain intensity with specific time intervals was employed. The results showed that participants who were exposed to a visual symbol of healing reported experiencing more relief from pain than those who were examined with a neutral stimulus. These findings support the explanation proposed by perceptual symbols systems theory about the mechanisms underlying the physical changes caused by psychological processes. Also, the possible effectiveness of using a brief priming-based intervention in dealing with acute pain is supported by the results.

Abu Madi is one of the pioneer poets in the field of symbol and myths, however; this aspect has completely been ignored or forgotten in researches, so far, conducted on him. Those researches mostly focused on simile and moral aspects, not the aesthetic ones. In fact, he is considered a great poet with regard to tangible depictions, but a few of them could pay attention to his innovating and aesthetic senses. The current study tries to review symbols and symbolic depiction of this poet and then concludes that a large number of his interpretations are based on expressive and metaphorical portraits. In other words, his attention was driven toward external limits of symbols, without any psychological and inclusive reality behind it. Although, symbolic anecdotes have a major share in his poetry with social and moral values, but few of them enter the scope of symbolic and aesthetic portrait, because of their moral and speculative traits, and lack of internal reality. There are a few portraits in his poetry that go beyond the metaphorical and equipoise limits and replace it by unitary vision and pursue psychological reality. However, these little portraits were unable to ascend in the artistic domain.

It would seem impossible to benefit from literature to bring about the ideas of nations together without a study of their poet’s common style characteristics.A comparative study of the sonnets of Saeb and SeiidaNasafiindicates an abounding use of symbols such as “the detached lover, mirror, nightingale, butterfly, fire, flame, …” introducing many images and literary traditions into poetry. The question is why poets took advantage of symbols and how the novel ideas and the proper style to them.To Saeb and SeiidaNasafi, symbols are but tools to deal with the question of love and insanity, selflessness, annihilation, union with God, ….This study aims at examining the similarity of evolution of mirror as symbol in the poetry of SaebansSeiidaNasafi.

In Islamic mysticism, the world has always been demonstrated as the unpleasant and deceitful image. This attitude is consistent with what is observed in other mystical schools, but what makes the audience review this attitude is the undeniable parallelism that ties the views expressed on Islamic mysticism with how the world is somehow addressed in some Islamic texts.In this regard, we can witness that the mystics’ attempts to establish a link between certain concepts and some evidences on the world which eventually represents the gloomy side of the world, such as deception, hostility, and so on. In addition, the devil makes the most possible relation with the world. Because the evil elements that with their assistance together made the dismissal of Adam from heaven are along with the devil in relation with the world, one can come to the conclusion that the argument arrived at are derived from Islamic teachings because the motif is derived from the Koran, just as there are some verses and traditions as the evidence emphasizing on this theory.

Proverbs are main and fundamental parts of each language and also one of the oldest mind permeation of our ancestor which have root on national customs and traditions of society; certainly their collection, study, and consideration from viewpoint of symbol and signs is very important. Purpose of this research is analysis of common proverbs of Kerman based on symbol and signs and shows used symbols in theses proverbs, whish indicate culture and value of this region. So, we elected 58 symbols among 1000 proverbs that are collected from book of 1000 Persian proverbs "Kerman Dialect" in order to classify and analyze them and show their reflection on proverbs. The research was done in laboratory and document method and each proverb was elected as a unit of analysis. This research shows that the most symbols that use in Kerman proverbs are related to animals, nature, objects, touchable and common subjects. Animal symbols used for 2 reasons: 1) more using of animal by rural people because of their job 2) all kinds of people are familiar with animal and its meaning. Hard conditions of life in Kerman and art of Kerman's people in domesticate of them and using of these elements is reason of using nature symbols in these proverbs.

Architectural and artistic remains of the Achaemenid Empire have attracted the attention of scholars for many centuries. Nevertheless، the focus of research has been on locating Achaemenid origins in the architectural forms of other conquered civilizations. More recently، a tendency has emerged that tries to analyze Achaemenid art and history on their own terms. However، little attention has been paid to Achaemenid architecture and building crafts. The sporadic studies cannot open up new horizons to gain a fuller understanding of Achaemenid building traditions. This paper aims at filling this knowledge gap. Given the unique engineering of the Achaemenid palatial complexes، it is of high importance to identify the technology used to realize such ambitious projects. Benefitting from an interpretive-historical research method، as well as reading the archaeological evidence through the lens of engineering knowledge، this study sheds new light on topics such as construction techniques and materials، effective resistance against destructive powers of nature، as well as the way through which building technology developed during the empire. The Achaemenids benefitted from a partial understanding of the physical properties of materials and the flow of forces in structures. Moreover، they not only employed the most effective techniques available by then but also invented genuine methods to improve the static behavior of their colossal palaces.