Abstract
The audience of every work of art is willing to receive its meaning, and the exact recognition of an image or image for its meaning and content requires reading and even interpretation, and iconography is essentially trying to express the meaning of the image.  In visual arts, a symbol is an image, a plant, an animal, or a sign that has a deeper meaning than what is seen. It is often not easy for us to get the meaning and interpretation of the symbols of the past centuries. Occasionally, symbols refer to an event or story, and a group of symbols replaces personalities and individuals. In this regard, the monastery of the Ghareh Kelisa is one of the most important Armenian churches in Iran, located in the northeastern part of Chaldoran. Throughout the northern and southern walls of the church, as well as the bell tower, it has unique and unique carvings. Sculptures This monument can be divided into five categories, including: human designs, animal motifs, plant designs, geometric patterns and mythological motifs. The designs are beautifully crafted, crafted, and beautifully crafted by experienced and experienced craftsmen, and the artist’s creative, abstract, decorative look is best illustrated in all designs and each role is a special symbol and symbol. Among the paintings of the Ghareh Kelisa, the role of animals is more than other motifs, both due to the variety of animal species in the surroundings and the symmetry of many animals such as milk, ram, cow, horse, etc. These motifs have no merely decorative aspect and offer higher meanings and concepts, and are one of the most diverse symbolism for symbolic aspects. In this article, it has been attempted to introduce and interpret the animal designs of this monument.
Keywords: Chaldoran, Ghareh Kelisa, Animal Figures, Symbols.

Introduction
Some ancient works bear the institutional values and messages that are embodied in the form of artwork and in the form of their roles based on the beliefs and beliefs of the ancient human body, and to understand the meaning of these ancient designs, one needs to know the symbolic components. That once, because the verbal language had a certain meaning in ancient cultures and somehow represented a mythical belief (Rafi Farr and Malek, 2014: 7). The motifs used in Iranian art from late to present, have always included symbolic meanings in addition to its decorative and aesthetic aspects (Sabagh pour and Shayestefar, 2010: 31).
The role of the elements in the art of Iran has been bearing the concepts and themes of interest of the people of different ages, and the continuation of their design reveals the visual changes of each period. One of the most important paintings that has always been considered in Iran and even continued with the change of religion is artifacts arranged in various arts (Mortezaei and Sedaghatzadeh, 2013: 47). 
In this regard, the construction of the Ghareh Kelisa is one of the most important and most representative Armenian churches in Iran, located in the northeast of Chaldoran. Throughout the northern and southern walls of the church, as well as the bell tower, it has unique and unique carvings. Sculptures This monument can be divided into five categories, including: human designs, animal motifs, plant designs, geometric patterns and mythical motifs. These designs are carved by artist and experience mastermanship with elegance, flair and beauty, and each role is a symbol and symbol.
 the Ghareh Kelisa sculptures actually reflect the culture and the arts, beliefs, cultural and social relations of ancient societies and have a special place in various studies and researches, especially archeology and anthropology. In this essay, it attempts to introduce and interpret the animal designs of this monument.

Ghareh Kelisa Animal Characters and Their Symbolism
Animal statues are one of the oldest paintings man has made in his works. These motifs in Iranian art (like other designs) were not merely decorative, but sometimes expressing hope, fear, or resort to a force to fight the dangers of nature and life, and sometimes express religious beliefs and myths. The same values and special expressions sometimes transformed motifs into symbolic and symbolic symbols that used them as a message transmission during the course of history (Khazaee and Samavaki, 2003: 8). Animal designs, including roles that have been dominant and frequent in many ancient civilizations, including Iran. Cassirer believes that in the course of the worship of primitive human beings, we see that a human beast has become and worships animals, such as worshiping a variety of phenomena and things encountered in its surroundings, and Kasier is referred to as gods It commemorates a moment and, through this worship, leads to functional gods (based on their interests and their function in life) (Kasier, 2012: 75-76).
In this regard, the structure of the Ghareh Kelisa, consisting of two parts of the eastern (black) and western (white), the eastern or black part, which is the oldest part of the building, does not have much role and only in the part of the side Northeastern and southern skylights are cross-linked and surrounded by chainsaws. But the western part (white) of the Ghareh Kelisa is divided into 5 rows by stripes of simple profile, which can be categorized into five groups: human designs, animal drawings, plant designs, geometric patterns and mythological motifs.
Most of the sculptures in the third row have been carved into the third row. These motifs are the ones directly hunted by humans or in some way related to the subject of predation and daily routine of hunters, or rooted in past religions, and most of the beliefs are that these images are abundantly and the numbers can be distinguished in the following order.
 

Conclusion
In the meantime, the archeology of Iran’s religious architecture, and in particular the  Ghareh Kelisa of God, is a rich treasure of motifs that, in addition to values and beauties, expresses the secret and need for cultural and religious secrets in themselves. This role of the motifs due to the deep roots in Iranian culture expresses the noble concepts that have remained in popular belief in the form of visual arts in simple and prolonged forms. 
Among the paintings of the Ghareh Kelisa, the role of animals is more than other motifs, both due to the variety of animal species in the surroundings and the symmetry of many animals such as milk, ram, cow, horse, etc. These motifs are associated with the continuation of some ancient Iranian art traditions and is one of the most important interconnected circles of Iranian art before and after Islam. Drawing Animals in a Dynamic Mode, Variety in the Size of Animals; Small, Large in Nature; Attention to Exposure; Increasing Naturalism; Variety in the Design of the Foot, Eye, Horn, Head and Neck, Wings and Body; Characteristics of Animal Drawings The Ghareh Kelisa is the artist’s most abstract, creative, decorative look, best illustrated in all designs, and each role is a special symbol and symbol.

Abstract
The most important way of understanding human being in the past is to study their relics and among the works that have made a significant contribution to identifying culture and civilization and many other issues of ancient Iran, the motif are seals. Studies of this kind of data have been the focus of archeologists and historians for many years and many articles and books have been published on this endless subject. Because the seal and sealing in answering some questions, the correct orientation of a number of questions and new questions about social, economic and people perceptions of the past have been raised. In some motives the artist describes his/her world and this kind of description is actually the optimal use of symbols. In the Persepolis museum, there is a black seal that differ substantially from other Achaemenid seals. This bilateral seal is a lesser-known role in the art of molding and is unique in Achaemenid molding. This seal is first published and revised based on various criteria such as art style and symbol interpretation. The main purpose of this article is to document and introduce the symbols of this seal; the author will also answer a few questions about this seal by using descriptive-analytic methods and by using authentic library resources after fully describing this seal. First, what are some of the concepts used on the engraving on the seal? How these symbols originated and whether these forms were the result of Achaemenid thought or a legacy of a very ancient culture?
Keywords: Seal, Achaemenid, Persepolis, Symbol.

Introduction
On the occasion of the plan of organizing the repositories of the Persepolis museum in the summer of 2015, I had a black seal on a meeting in august of that year. This seal had differences A double-sided stamp seal that is unique in the Achaemenid period. On the other hand, the seals have a special place among the represent the customs, habit and believes of a people and also showcase history, religion, philosophy and art alongside administrative. Social management for centuries, these motives are rooted in ancient Iranian civilization and sometimes influenced by neighboring nations. This portable data has also spread art and culture to other lands due to its use in commercial exchanges, office letters and political relationships. The main purpose of this article is to document this seal and to interpret the emblems that have reached the Achaemenid from the distant past. Recorded in the Persepolis museum of bilateral seal No. 1267. It has a diameter of 15 mm and a thickness of 9 mm. It is made of stone and its location is Persepolis. There are three distinct roles on the seal. First the man sitting and holding a bowl in his hand and a flower in his other hand. The second is the cedar tree behind the man, and the third is censer in front of the man. The man is Probably a king with a short crown, the hemisphere is like the Achaemenid image.

Identified Traces
Three separate images can be seen on the seal, first is the man sitting and holding the wine cup in one hand and the flower in the other the second is the cedar tree behind the man and the third the udsuz in front of the man.
The man is probably a king with a short crown with several congresses, it is depicted from the half- face like the other Achaemenid image, the crown is similar to the Ahura Mazda round Cap. On the king’s seal has the original image and the role of cendar and is quite marginal.
Beneath the crown of hair, curly like all the motifs of persepolis the forehead and back, the king’s face wide and his eyebrows reached the ears, the nose is delicate, long and straight, lips are up and drinking and beard shorter than persepolis motifs but curly, the king’s eyes look great. The king’s neck was proportioned to the body, part of which was nuder the dress, the king’s hands are long and stretched and he looks thin. The king has a lotus flower in his left hand with a bud in his right hand corner, like Darius in the Naghshe Baram. The branch of the flower is tall and its end protrudes from the king’s hands. The king has a large wine cup in his right hand that lifts it up or closes it. The king’s waist is slender and its curvature is quite evident, and the belt is wrapped in two rows around the king’s waist. The king’s feet are on the ground and parallel to the base of the chair. The king’s Boot is a long boot with twisted straps that are not simple in the designs attributed to king Boots, but a simple shoe. Behind the king is a small triangular cedar, there are ten rows of branches on the left and eleven branches on the right of the cedar tree. The branches have all gone upwards and look like praying hands.
It is noteworthy that most tree motifs are on the palm tre seal and less than the cedar tree. Lion painted on a young and very angry seal seems to be a characteristic of most of the lions imprinted in the Achaemenid period. The body of lion is soft and agile, his head turned back. The hands and feet are in a relaxed gait so that the lion triumphantly moves forward the bird on the seal is Dorna that wing has been opened it seems that the artist insisted on drawing the head and neck of the Dorna so as not to induce the role of the Farrah.

Conclusion
Prehistoric believes of Iranian ethnicity have had such a broad role in shaping Iranian art that it is still visible in many works of art, an example is the seal studies. At a time when most of the seals built during the Achaemenid period are cylindrical, a bilateral seal imprinted on Persepolis is the most famous and important Achaemenid city, all the carved motives on it reflect the millennial believes of the Iranian people, some of which still have the same implicatins for contemporary people. None of the motives were devised by the Achaemenid artist, rather, old concepts in a new way with new technology and sophistication are on the seal.

Abstract
Among the Turkmen, shamanism is the ape tic method based on ancient ethnic beliefs, which is still a common notion that has gradually been merged with religious beliefs and symbols of shamanism with religious fusion have continued to this day. The main purpose of this study is to investigate the basic concepts of symbols that originated from the beliefs, rituals and rituals of the Turkmen tribes of their primitive religions. Information the findings were collected by field method and direct observation using the main library resources. The main findings of the research are based on the symbols and signs of shamanism, as the ancient beliefs and rituals of the Turkmen tribes. Fairy readers are considered to be the main and last survivors of shamans among the Turkmen tribes each of the fairy readers has an army of goblins at their disposal and command this study tries to answer basic questions such as key elements in shamanism, the place of shamanism in the Turkmen belief system and the historical – cultural origins of shamanism in Turkmen culture.
Keywords: Symbolic Anthropology, Anthropology of Religion, Shamanism, Turkmen.

Introduction
Undoubtedly, among contemporary thinkers in the field of symbolic anthropology, Clifford Greets is one of the most famous anthropologists in the field, due to his particular approach to culture and his new approach to the humanities and social sciences. Geertz’s position beyond anthropological boundaries as an interdisciplinary figure in the social sciences. His theoretical approach to anthropology is broadly symbolic and combines philosophical, anthropological, and even linguistic theories.
Analysis of religious behaviors and practices is one of the central issues in the field of anthropology of religion. How behaviors and actions can be studied objectively and realistically and as a phenomenon is one of the serious issues in the anthropology of religion. This issue led to extensive developments in the theorizing of the humanities and social sciences in relation to cultural and religious phenomena in the second half of the twentieth century AD.
In general, in the 60s and 70s of the twentieth century, symbolic and interpretive anthropology with its own approach to culture, was confronted with material tendencies, such as materialism or cultural positivism.
In this view, cultural phenomena move from the belief that culture is a set of meanings that are understood and received trough symbols and signs, and to understand it, one must first go to the analysis of these symbols.
It is Clifford Geertz who has emphasized such as model as a method in anthropology. He has been able to bring about extensive changes in the definition of culture with an interpretive methodological approach.
Based on observation and return to the field of social sciences, he created a new model of interpretation and semiotics in the anthropology of religion. (fakoh. 1386: 108).

Shamans Treatment Method 
Shaman and shamanism are among the most important topics in the anthropology of religion. Shamanism is not a new subject, but every research on religion is devoted to it. What distinguishes the shaman from other wizards is that the shamans are not magicians but physicians and sages, but the main feature that distinguishes them from other wizards and priests is the serious attention of the shamans to the semantic space. So all shamans are healing wizards, but not every witch is a shaman. In fact, a semantic space has caused the school of shamanism to enter the field mysticism. The very important point is that the last feature that allows a person to be a shaman is to enter the world of semantic space. Until the shamans reach the strict rituals and succeed in these stages, and after entering the world of semantic space.
Otherwise they will not find the entrance to the world of shamans the importance of semantic space in shamanism lies in the fact that all functions of the shaman are related to semantic space in one sense. In this way the shaman can communicate with the helpers and guardian spirits of the gods for diseases, wander the soul, stealing the soul or conquering it and ask them for help in pact, shamans are also witches, sages and sorcerers.
Like all doctors, he is able to heal ad, like all wizards, he can do extraordinary things. (Eliade, 1382: 129).

Field Findings of the Research
Until about a hundred years ago, before the gathering of the Turkmen tribes, a ceremony fairy readers was held inside the pergola, the mobile residence of the Turkmen tribes. The fire was always lit in the middle of it, and the fairy readers melted his sword or spatulas in it, struck the patient’s feet or body to drive the evil forces or infidel demons out of the patient’s body and soul.
In general, in the ritual of fairy reading sick sword is a symbol of removing or purifying the sick from the forces of evil and impurity. The semantic space and the connection with the spirits can be seen as two continuous stages, just like shamanism in the fairy reading ceremony.
Using musical instruments, performing rhythmic movements and spinning are the most important ways for fairy reading to enter the world of semantic space.
The fairy reading ceremony begins with apart (signer and musician) of Turkmen music playing the strings and singing some pieces of music that is specific to the fairy reading ritual. Perry first begins to shake her shoulders with rhythm and song. Then the rhythm of his movements becomes faster and turns into fast movements of the head and body and jumping.
This instrument immerses the rhythmic movements of the fairy singer in the semantic state of the space, and when this state reaches its speak, sometimes with a rope. Which hangs from the ceiling of the booth or room begins to rotate.
In this case, the somatic space reaches its peak and the fairy redder communicates with the world of Al and ghosts, in other words, he flies. Hunting or traveling in the form of an animal south is another feature of the ritual of fairy reading.
In the ritual f reading the fairy, the ram animal is a symbol in which the fairy singer travels to the world of ghosts and fairies, in other words, mixes with the spirit of the ram animal and goes hunting. Here the ram symbolizes the spirit of the protective spirit of the fairy.
In another stage of the fairy – reading ceremony, the fairy – singer, who is like a ram, pulls her horn and ties the patient’s hand and attacks him like a ram. At this point, Perry juam attacks the room with his head like a ram. He attacks goblins like a ram. According to him, goblins or black goblins attack in the form of ram movements.
Although the fairy does not make himself a ram, he travels and hunts in the form of an animal spirit. In most of the surviving lithographs of shamanism, although images of some animals can be seen, but images of many rams have been found that indicate its importance to shamans.
In Turkmen shamanism beliefs, spirits are divided into two categories, male and female. Female spirits are very powerful and dangerous and cause many ailments and diseases. According to the Turkmens, Al is a female soul, very beautiful and strong, tall and with long hair. Apparently, the male type is considered a benevolent spirit.
In addition to jinn and fairies, fairy readers also communicate with Al. in terms of fairy readers, the genie is a liar. Al does not lie; he tells the truth. The jinn have no sign of themselves but Al has a sign.
This sign is usually placed on the body of a fairy or patient (Nadimi, 1378: 63).

Conclusion
From Peri juan’s point of view, music has two important and special functions for him.
The main function of music, from the fairy reader’s point of view, is to control the forces that harass him. After the shaman stage begins, these pressures continue under normal circumstances and in everyday life to control these forces, the Pari khan go to the Bakhshies and ask the Bakhshies to sing Turkmen music in a friendly a private meeting to relax.
In ancient times, were sung and Khan agars narrated his to rical events. Turkish shamans always treated the sick along with the khanyagars and shamanic ceremonies have probably been accompanied by music performances since ancient times.
In the ritual of fairy reading as a remnant of shamanism, performing music is an important step in entering the world of semantic space fairy reading music brings inner peace to the Pairy, the patient and the audience.
Thus, fairy reading music has two main functions; first, the background of the semantic space and prepares the inner world of the Pairy reader, second, it stimulates the inner feelings of the patient and those present to perform the ceremony, and in general, prepares the space for the performance of the ceremony. 
 

Abstract
Cultural Heritage is the historical existence of a nation. Cultural heritage has internal, national and international functions and has intrinsic value. Among the most important values is “symbolic hegemony”. The symbolic value of cultural heritage and its transformation into cultural assets in the destination countries has made the superpowers think of acquiring the cultural assets of the countries, especially in the countries with rich cultural heritage, and has formed the “cultural assets conflict”. Cultural heritage is the symbol and manifestation of collective efforts of a nation in the context of time and storage of knowledge and ability of past generations. Therefore, cultural property and its diverse forms are like living beings that can always be restored/reconstructed and protected and have diverse and numerous uses for countries on a continuous basis; Superpowers by taking the cultural property and emptying these countries of cultural heritage; In fact, they drain the symbolic power of countries. Superpowers by taking the cultural property and emptying these countries of cultural heritage; in fact, they drain the symbolic power of countries. . The purpose of this article is to explain the values, especially the value of “symbolic hegemony” of cultural heritage. The theory of “symbolic hegemony and conflict of cultural assets” is a reflection of the story and cultural narrative of imperialism that has taken place around the country of Iran and countries with geo-cultural value. Considering cultural heritage as cultural assets and its geo-cultural values for a land; it is a special narrative type of cultural heritage that does not have much place in Iran’s cultural heritage literature.
Keywords: Cultural Asset, Hegemony, Symbol, Objectivity, Conflict.

Introduction
Today, the history of countries and nations is written based on cultural heritage. Cultural heritage includes a wide collection of tangible and intangible/movable and immovable property that include many places, events, oral and written history, and the lifestyle of people from the past to the present day. Cultural heritage and its diverse forms are the objective manifestation of the geo culture of a land that must always be restored and protected, and due to the possibility of communicating with the masses of people, they have the ability to be displayed and exposed in various places, such as museums or exhibitions, etc. The competition to gain the sphere of influence in the countries with cultural value is realized in different ways and with different means. Geopolitical competitions and the display of power are not achieved only through war and the destruction of modern facilities of a land; Rather, the destruction of the tangible manifestations of the cultural heritage of a land is one of the things that hegemonic countries always do to destroy the geographical values of lands with geopolitical and geo cultural value. Discrediting the cultural background of the target countries and destroying or downplaying the value of geo culture is done at a lower cost, which can be considered as one of the examples of “soft war”. This type of war provides the ground for the expansion of the hegemonic countries in the regions with geo-economic values by destroying the geo-cultural values. This type of approach and paradigm of colonial countries to destroy the geo cultural values that are manifested in cultural heritage can be put forward in the framework of the theory of “Symbolic hegemony and conflict of cultural heritage assets”.

Methodology
In fact, the present research presents a theory “symbolic hegemony and conflict of cultural assets” that, based on this; cultural heritage has been considered as cultural property, which can play a significant role in economic and geopolitical decisions of the country. Initially, it is compiled through library studies of the required information and then adapted to the cases that have been considered in the theory, first with information about the cultural heritage and values, and then in The case of countries that have been destroyed or extinct by American imperialism and the terrorist group of ISIL are cited, and then the theory of is explained.

Discussion
Globalization, emerging phenomena and social developments have increased the importance of cultural assets and day by day the protected of the cultural heritage of the countries in order to sustainable preservation for useable and different goals. The Theory” Symbolic hegemony and conflict of cultural heritage assets” which includes the basis of this article, Based on the conflict, some views have been presented; Destruction of cultural heritage in the Middle East and its protection and diversification in developed countries.  The number and abundance of objects and elements of cultural heritage is a sign of the continuity of civilization in a geographic area and territory, which the abundance of cultural assets is also a proof and objectivity of the spiritual heritage of a nation or country, including; Intelligence, genius and language are rich and... It has been proven today that nations with a strong language have been more civilized throughout history; because the multiplicity of cultural objects also expresses the richness of art and techniques. “Language” is also more complex in places where the number and frequency of cultural heritage elements are greater. For example, where they have lived a pastoral life, they have a simpler language. Every skill is an action. In places with a richer cultural heritage, the verb “to build” is used. Continuity in professions, especially economic professions, has led to skills, and skills have created treasures and knowledge. The location of the museum is the most significant example that can explain the above sentences. What do we see in museums? We actually see various goods of past times in museums. These diverse goods have a geographical origin and production; By the way, you have to think about their places of production. In the next step, the process of their production and the thoughts that designed and made them should be studied. Greece seems to have followed such a path. In Greece, when archaeological evidence, property of art and architecture were discovered, in addition to thinking about several objects and how to keep them; rather, a higher step was also taken, and that thought was about the thought of ancient Greece. A fundamental thought was done about the ancient Greek thought so that the postmodern philosophy was founded on the ancient Greek philosophy. Do archaeologists and cultural heritage custodians think about the places they discover? Is such an approach basically relevant in Iranian archeology literature? Unfortunately, Iranian archeology has not entered into these discussions based on the available written evidence; while basically the benefits of archeology lie in these kinds of discussions. Cultural heritage elements can produce method, technique and philosophy. The importance of the conflict over the acquisition of cultural assets lies in this point, this conflict started with the cover of some wars such as the war of “ISIS” in the region, and in the future, the “acquisition of the cultural assets of nations” will be a source of conflict between the powers.

Conclusion
The cultural heritage of each country is one of the most fundamental pillars of identity consolidation, creativity and national self-confidence. National identity is one of the dimensions of national power. National identity has many social, historical, geographical, cultural and political indicators. The cultural heritage as a symbolic hegemony, which if damaged or destroyed for any reason, That country or nation will lose its real power and there will be no concrete examples and objections to rebuild. Cultural heritage values are not due to their physical existence, but because of the thinking of their creators. The hidden and invisible values of the cultural heritage have pushed the superpowers into wars in the Middle East and probably brought the cultural property of the war-torn countries to the some museums. The cultural heritage is the objective crystallization of human thought that is of today’s contemporary use to society. Western superpowers have good learned to use the cultural heritage as assets. Consequently, wars were launched in the Middle East and sought to plunder the cultural heritage of war-torn countries According to the evidence and documentation, this paper presents the theory of “hegemony and the conflict of cultural property”. It is recommended “Cultural self-awareness” based on cultural heritage should be strengthened at the national and international levels. The powers to acquire the cultural heritage of nations, in addition to having economic and ideological goals in mind; Rather, they empty the nations that own cultural assets from symbolic rhetoric; Just like what ISIS did in Iraq and Syria, they destroyed the cultural heritage of these countries. Superpowers have targeted the existence of cultural heritage. If the “objectivity” of cultural heritage does not exist; Nations will not be able to have an authentic and ontological interpretation of life. Cultural assets, as the cultural wealth of nations and countries, reveal the inner and essential interpretation of nations in the context of time. If the elements of cultural heritage are not available, in addition to the fact that the people of the countries will not be able to interpret the technology and the rational and ontological interpretation and find the path of life in interaction with nature, they will also lose the knowledge and ability of the past.

Abstract
Coin minting is basically a symbol of the formation and confirmation of a political sovereignty. The Shiite rulers of al-Boyeh were among the local and regional governments of the geographical area of Iran, that  after the establishment of a political government in the year 322 AH and in imitation of the previous governments, according to the usual practice, coins were minted after the formation and stability of the political government. It seems that in the early days of the rule, the Al-Buyeh family used some of the symbols of the Abbasid dynasty and before it in their coins to validate and legitimize their political rule. that with the passage of time and the entry of this Shia political rule into the middle and final period; All the symbols of other local and regional governments have been removed from the front and back of the coins and replaced by symbols that show Shiite vision and thinking, and gradually with the passage of time, these symbols have reached a stage of maturity and complete guidance . It is one of the very important topics that the current research has aimed at, in addition to searching and analysing historical sources and new researches, to explain the reasons, motivations, and existing platforms for this change and transformation in the coins of Al Boyeh. to do and the nature of using these symbols and why not using another symbol as well as their growth and excellence from 322 to 454 Hijri, a period of 123 years with this question; What are the indicators of the minting of the coins of the Shiite Albuyeh rulers in Iran? How to challenge its adaptations, innovations and differences to other coins? Preliminary studies show that the Albuyeh ruling family, like other ruling families of their time, had to first legitimize the newly established system. They use the symbols of Bani-Abbas and before that in their coins and with the passage of time and the establishment of political rule, they tried to include Shia and Iranian symbols on their coins and their rule by minting dinar coins. (gold) and dirhams (silver) to everyone.
Keywords: Coin, Al-Buyeh Coins, Symbols of Shiite Coins, Symbols of Al-Buyeh Coins, Abbasid Coins.

Introduction
Al Boyeh rulers are the first Shiite rulers who were able to make a name for themselves in the history of Iran for 132 years from 322 to 454 AH and devote some pages of historical texts to their history. Investigating the historical developments of this period of Iran’s history requires knowing and knowing the sources that explain the historical developments of this period of Iran’s history (Faqihi, 1378: 16-17- Boseh, 1363: 220-221- Bahmanyar Kermani, Beta: 18- Ibn Athir 1373/11: 4825). Coins are one of the many important sources that can provide valuable information in all political-military-economic-social-cultural-artistic-literary-religious fields. Coins are actually the most truthful narrators of history, who have left valuable information in their hearts, which cannot be found in any of the historical texts or other surviving works of the past ages with complete accuracy and certainty. From the study of numismatic data of a historical period such as gender, metal, weight, carat, lines and motifs and slogans contained in the coins as well as the place of their minting from the intellectual, religious, cultural, political and social approach of each of the dynasties. Historically obtained useful information. From the study of the numismatic works of the Al-Buyeh period from the beginning to the year 322 (A.H.) until the fall of this government in the year 454 (A.H.) it can be seen that the coins of this period underwent many changes and many ups and downs, has gone through. So that these changes can be clearly seen in all political, social, administrative, economic, religious and cultural fields and even in architecture and coins. Research shows that the rulers and founders of the first new Al-Buyeh rule at the beginning of their work to formalize and legitimize their power structure in their efforts to benefit and adapt the civilizational, administrative, political, military and economic stages from others such as the Umayyads. They are the Abbasids, After adapting this index, they maintained it until the middle period of their 132-year rule, and after the changes and developments in the civilized, administrative, political, military, and economic fields, they replaced it with new indices, so this process continued until the fall of the rule. Albuyeh’s politics is quite tangible. In works such as Sarafraz: Avrzamani (2010); Pakzadian: 1380, Rezaee Baghabidi, (1393), Quchani, (1374); Eshraq, (1389), Quchani, (1383), Tridville (2001), George Miles (1938) The ups and downs of Al Boyeh coins developments from 322 AH to 454 AH, the end of the political rule of Al Boyeh Iran in metal, Weight, carat, lines, motifs, slogans... can be seen. Al Boyeh Shiite rulers in the very beginning of their work from the symbols of the Umayyad and Abbasid governments such as; The image of the Sassanid king (Khosro II or Yazdgerd III) was inserted on the coin (Ishraq, 1385: 3) The appearance of the name of the caliph or ruler in Pahlavi script - The appearance of inscriptions with Pahlavi script on the coin - The face of the Sassanid kings, half-faced and full-faced, appeared Appearance in the coins (Ishraq, 2015: 2) - the entry of the Islamic slogan into the Kufic script in the margin - the presence of Zoroastrian fire pits on the back of the coins - the presence of two fire guardians on the back of the coins - the appearance of inscriptions on the sides of the coins - Entering the date and place of production in Pahlavi or Kufi script- The appearance of inscriptions on the back of the coins usually used Pahlavi or Kufic script (Miles, 1363: 318-319- Sasanian Arab coins before Bani Umayyad 1-2). From the evidence and historical documents, it appears that the rulers of Buya, like the Umayyads and the Abbasids, minted gold (dinar), silver (dirham), scales or copper coins. It seems like this, when the rulers were in a good political, economic, and military situation, they minted gold or silver coins, and basically, gold and silver coins were minted in the main center of government. Later, with the gradual disappearance of the political, economic, and military influence, as well as the political rule of Al-Buyeh approaching the end of their rule, gold (dinar) and silver (dirham) coins were gradually replaced by gold coins Due to the distance from the centre of government - the reduction of central power - the lack of concentration and supervision over other states - the coins became popular in the political sphere of Al-Buyeh. From the historical and archaeological evidence and documents, it appears that the Shia rulers of Buyeh used to mint coins in many canters, and many titles and titles were used in their coins - from different styles, such as the Iraqi-Jabal-North-Shirazi style They used- Unlike the coins of the contemporary periods (Abbasians, Samanids, Ghaznavids, Seljuqs), they use the inscription script - the names of local emirs appear on the coins - they imitated the Sassanid coins and put the name of the emperor on the coin - from poems Shiites have not used it in the minting of coins - at first the grade and purity of the coins was at a high level (98%) - with the passage of time, the grade and purity of the coins gradually decreased and decreased to 50% - the name of Caliph Abbasi is on the back of the coin It was minted continuously - words such as Muhammad Rasulullah, La ilaha ila Allah, Wahadh Lashrik Leh, etc. are seen in most of the coins. So that these indicators and characteristics can be seen from the coins obtained in fifty mint centers of Al-Buye such as Qoms, Bastam, Damghan, Semnan, Gorgan, Estrabad, Amol, Sari, Frame, Hossam, Isfahan, Helwan, Dinur, Shapurkhashat, Saveh, Sinjabad, Qarmisin, Qazvin, Mah Al Kufa, Mohammadiyeh, Nayin, Hamadan, Armenia, Bardsir, Bam, Jiraft, Sijan, Arjan, Ardashir, Khoh, Janaba, Darabgerd, Shapur, Siraf , Shiraz, Fasa, Kazeroon, Kordfana Khosrow, Ibadan, Ahvaz, Izhaj, Shushtar, Jundishapur, Ramhormoz, Souq Al Ahvaz, Askar Makram, Baghdad (an overview of the distribution of minting centers in the political territory of Al Boyeh (cf. Miles, 1363: 326- Mitchiner, 1977: 121-126).

Conclusion
Al-Buye’s numismatic studies show that the coins of the political rulers of this Shiite family have experienced many ups and downs over time based on their geographical location, distance and proximity to the canters of power, followed by political, economic, cultural and social issues. In order to formalize their political rule, the Shiite rulers of al-Buyeh first followed the plan of their predecessors and after the political, economic and military changes and developments; they separated their administrative structure from the previous rule and announced the coinage of their independence to others. The minting of dinar (gold) and dirham (silver) coins is a sign of this approach, following the emergence of signs of weakness and weakness as well as the reduction of political and economic power; Coins were gradually reduced from gold to silver and with the passage of time to copper coins, and numerous changes in color, shape, inscriptions and distinguishing signs were evident in them. According to the practice of their predecessors, the first rulers of the Boyeh ruling dynasty have taken models from the coins of others, and like other contemporary ruling families, by imitating the Abbasid coins, they gradually removed their symbols and replaced them with Islamic and Shia symbols, and by adapting some of the initial coins of the regime. With the coins of the middle and final period of this dynasty, it can be seen that there are fundamental differences in the coins of this period (Baha al-Dawlah Deilmi coin - cf. http: // malekmuseum.org). This symbol has fundamental differences compared to other coins of the previous era due to the approach of the Al-Boyeh family in assigning it to the family of innocence and purity and on the other hand to Iranian’s. Although the essence of the work of the coins of this period is exactly imitation and adaptation of the Abbasid coins; But in some aspects such as color, shape, inscriptions and recognition marks, it is associated with a new approach that separates it from other coins, which can be seen in the use of many titles and titles; and also the use of styles such as Iraqi, Jabal and North, and Shirazi; It made them more distinct compared to their contemporary coins. The coins of the first period of Al-Buyeh are used with the names of local rulers and the names of Sassanid kings appear on the early coins of the rulers of Buyeh. They had a mind. In addition to this issue, to confirm their political sovereignty, the Buya emirs had to include the name of their contemporary Abbasid caliph in their coins. This symbol is less visible in the early coins of Al-Buyeh and more in the middle and final period of their rule, and later this symbol was added to it along with the symbol of nationalism and Shia rituals, so that the emirs of Al-Buyeh appointed themselves to the Zaidi and Shiite family show. In addition to this issue, except for the initial period, the Shiite ruler . in their coins. Al-Buyeh rulers dominated parts of Iran and Iraq from 322 to 454 (AH) for 132 years and made great efforts to expand their political rule over other cities in the region; But like other governments, after a period of ups and downs and the decline of their political, military, economic-social power, as well as the emergence of new powers and the court of Al-Buye being caught up in internal conflicts and family rivalries - political-economic similarities - caused it to decline in front of other powerful and coherent powers of the region such as the Seljuqs, and with the decrease of their power, the material, metal, weight, carat, lines, motifs, slogans, etc., of the final coins of this period changed A lot appeared.

Abstract
Seals are one of the most important archaeological data, being always considered in archeological and ancient art studies. As one of the most important archeological sites in Iran in different historical-cultural periods, especially the Elamite period, the ancient city of Susa has provided a lot of cultural-artistic data to archaeologists and art history experts, including seals. Findings from this ancient city, including the seals, indicate various artistic styles in the past, various styles of engraved seals, and iconography have a special place among this data that can express information in various fields such as symbols, myths, or narrative stories. In the Elamite period and especially the ancient Elam that is discussed in this article, we are faced with different artistic styles in the engraved seals. Styles that can express both the special Elamite art and in some cases have not been without the influence of the engraving styles of the neighboring land, i.e., Mesopotamia. Here is a selection of seals of the Early Elamite period of Susa (11 pieces) in this regard, which belongs to the National Museum of Iran, which are considered to study their images in terms of a specific cultural-artistic style to respond to the question indicating “whether the engravings of these seals of Early Elamite express a special narrative style!” The study, which is a library-museum method and is accompanied by a comparative analysis of images, can be a narrator of the power of “master of the animals” / or perhaps the best person in the society of that day in protecting the animals under his support against wild animals such as lions, somehow narrating its power with these illustrations.
Keywords: Susa, Seal, Early Elamite, Images, Symbols.

Introduction
The seal or sealing has always had an important meaning for archaeologists and art historians. The researcher can use them in indicating dates, subject analysis, determining customs, and sometimes even in understanding myths, and thus reconstructing a forgotten world in parts. In addition, by studying seals, complex administrative processes, business relationships, and cultural relationships may be somewhat understood (Neuman, 2013: 83). The use of a seal was a guarantee of authenticity, ownership, documentary participation in a legal exchange, or protection of goods against encroachment on individuals (Collon, 1990: 11).
No seals have been found in the 7-12 layers of the metropolitan area dedicated to the Susa IV period, but in any case, Le Breton’s tabulation of seals without exact origin indicates the superiority of the Mesopotamian style of seals during the first half of the third millennium (Carter, 1980: 25; Carter, 1979: 453). The influence of Akkadian art on the seals of Iran / Elam - almost simultaneously with the Awan period - can be seen on a group of cylindrical seals of unknown origin, at least one of which is purchased in the Foroughi collection from Iran (Porada, 1964: 88 -93). 

Discussion 
The form of wide shoulders and narrow waist and proportion of people in these seals is comparable to the examples of the Akkadian period. However, the equal distribution of people in the scenes of Iranian seals distinguishes them from the form of narrative distribution of people in the Akkadian seals, in which there were wide empty spaces in front of people (Porada, 1993: 486). The domination of the rulers of the third dynasty of Ur/ Ur III over Susa (from the last years of Shulgi rule on 2094-2097 BC) is reflected in the influence of the Mesopotamian sealing style on the seals of the rulers of Shimashki dynasty and the first kings of Sukkalmah (Porada, 1993: 486).
Based on the studies by researchers and comparative studies on several selected seals in the repository of the National Museum of Iran, this article will try to answer the question regarding whether the engravings of these seals of Early Elamite could express a special narrative style. The study was conducted by the library-museum method and was accompanied by the comparative analysis of images.
The seals selected from the National Museum of Iran, which are 11, can be divided into the following categories in terms of visual style and iconography:
- Susa style (Susa IV), which includes the seals No.: 592.1 (Susa), 597 (Susa), 599 (Susa), 602 (Susa), and 601 (Susa) of this collection.
In the period of Early Elamite, we   also see different styles, which we will discuss as follows:
- Akkadian Related style, which includes the seals No. 607 (Susa), and 605.1 in this collection.
- Popular Elamite style (Akkadian / Awan Related), which includes the seals No.: 619.1 (Susa), 619.2 (Susa), and 595 (Susa) in this collection.
- Ur III Related / Susa V, which includes the only seal: 606 (Susa) in this style collection.

Conclusion
What can be seen in all the designs and images of the seals is the depiction of things that existed in the life and climate of the people of that period, which were influenced their thoughts and type of look, somewhat being the engraved designs affected by the customs, beliefs, and traditions of those people. Except for the scorpion motifs on the seals, which symbolized the insidious creatures and suffering or even indicated rebirth, they were often found in arid lands and could be related to the climate that had influenced the beliefs of the people of those lands. What most of the pictures in this collection tell us, is about the fight between humans and animals; a powerful human being against strong animals, perhaps to defend a weaker animal. The fight of man and lion, with the presence of animals such as goats and cows; an ideal narrative of superior personal power. These fighting scenes are often seen in the motifs of ancient Iran (and of course Mesopotamia) from the period before Elamite and Elamite to later periods, indicating the power of a superior person in most interpretations - in older periods, perhaps the of “master of the animals” or ruler and referring to the king in more recent periods.
On the one hand, the distinct and prominent presence of animals such as lions (or cats) being the symbol of power in the land of Elam - especially the Susa plain as a habitat of this animal - e and also the goats as a constant companion of humans from The agricultural period onwards, and also in this period. On the other hand, the need to protect the owned animals accompanied by man against hostile animals does not take the creation of such scenes out of the mind. Inspired by the issues and landscapes around him, the engraving artist used to create images, which ultimately led to a particular style. In these special cases, the battle scene is a kind of narrative of a superior person to show his superiority and power. Now, this person should be considered the ruler of animals to be sought in myths, or a powerful king that is present in the historical scenes.

Abstract
Sassanid bullae are indicative of the administrative structure, commerce and other cultural concepts, which usually differ from each other in the sealed figures, size and the number of times they have been stamped. In many cases, these samples are accompanied by symbolic arrays like other cultural data of this period. In order to study of their importance and description and to answer questions about the symbolism mixed with the worldview of Mazdaznan religion and other concepts such as the knowledge of that time, we selected undocumented bullae in the archives of the National Museum. In this regard, semantics, the most frequent arrays, compatibility between these symbols with other symbols this period, relative chronology and their possible origins were investigated. Most of the images stamped on the bullae of this collection include human, animal, and geometric arrays (monograms). Some of the fifty studied bullae studied have lost their value in due to wear and corrosion or breakage. Also, there is no information about how they were discovered. These bullae are assigned to the Sassanid period only based on the writings and arrays. Our research is based on library studies and documentation of bullae of the National Museum archive and conventional methods such as photography and design of flower seals. 
Keywords: Bullae, Sassanid, Symbol, Iconography, Mazdaznan.

Introduction
Our purpose of writing this article is the iconography of bullae attributed to the Sassanid period from the archives of the National Museum. By studying these bullae, their administrative, commercial and ritual use can be understood. In order to better understand these features, symbols and writings (here symbols) have been studied. The Iconography of the archeological data of this period (especially seals and bullae) reveals points such as cultural interaction in the Sassanid Empire, similar to the concepts of the Mazdaist religion or other religions, Animal symbols in the seals of the Moghadam Museum with signs of the Mitra ritual (Dehpahlevan and Ghanavati, 2014, 47-67); or examples with Christian and Jewish symbols from Sassanid empire rituals (Lerner, 1976, 183-187 and Lerner 2009, 653-664). All in all, the symbolic nature (or not) of the arrays on the bullae can be interpreted as follows; Signs (monograms) are single or multi-purpose, human portraits are demonstrative or commanding and sometimes mythological, some of them like hearth are divine and other are mythological representations of quadrupeds or birds (Brunner, 1978, 11). However, each of which has a variety in form and details but it can be safely said that monograms are the most special type among them because it combines other symbols together (figure 1). Bullae in the archives of the National Museum are classified into human, plant, animal, astronomical and geometric types in a symbolic or natural framework. Meanwhile, their animal species is probably from the northern half of Iran in the 6th century AD. The purpose of this research is to deal with the symbolic and ritual concepts of the bullae of the National Museum and their use, classification and relative chronology of them. Their relative chronology is due to their similarity to the most well-known finds of this period, such as the documented flower seals of Takht Sulaiman and Abu Nasr Palace. The questions and assumptions of our research include What are the meanings of the Sasanian bullae symbols? What are the most repeated arrays in this collection and what are their similarities? What is the relationship between our research collection and other archaeological and documented findings? It is believed that the iconography on the seals, despite their mainly commercial or administrative use, shows the prominence of symbols and rituals in all aspects of Sasanian culture. Also, the iconography and inscriptions of some of the seals of the National Museum archive confirm their ownership to administrative and ritual positions. In this regard, we have a historical and analytical approach according to the documentation methods, typology and the review of archaeological reports.

Discussion and Analysis
Symbolism is an integral part of Iranian culture. Undoubtedly, since bullae were representative of the administrative and commercial system throughout the Sassanid Empire. the reflection of well-known and ancient symbols on bullae is also an effort to culturalization and reminding with them. According to the Authors, the common message of the symbols of each category clearly expresses systematic beliefs that are evident in all cultural and political aspects of this era. Just like the deification of all creations, which has been mentioned many times in Sasanian literature and art especially in the fourth century at the same time as Khosrow II Sassanid (Yarshater, 2016, 176-190). Iconography was of interest throughout this period and only the appearance and quantity of some of them, such as the animal examples of the time of Kartir and Bahram II or the symbols of the goddess Anahita during the time of Mobad-e-Mobadan Atorpat Mehraspandan (beginning of the 4th century AD) caused that some researchers consider them as new symbols. Sometimes iconography is a way to know the origin of bullae such as the arrays of camels and winged horses that are the symbol of the fire temple of Azargoshnasp that can show that part of this collection was made there or in the workshops of the northern half of Iran. In this regard the mineralogy of flower beads will also be our answer in belonging to the specific place of preparation of materials, the production and baking of flower beads. In addition, the names of Mad, Pars, Bishapur and Farah (Khora) of Ardashir (Firouzabad) are also mentioned on these seals. However, some names such as Azargashnesab were also used to name places and people (Yamauchi, 1993: 7-46). It is also possible that the flower seals and their iconography are more visible throughout this period, especially during political and social upheavals such as the period of Qabad I (488-496 AD) or Khosrow Anushirvan (531-579 AD).  In this regard, the archives of Takht Suleiman’s bullae and the reflection of the well-known early patterns of this period, such as the depiction of the king riding a horse on the bullae, clearly indicate their use and symbols for a long time, especially in the second half of this period.

Conclusion
The celestial and religious or scientific attitude to phenomena can be seen in Sassanid art and culture and before them in Iran. From a conceptual point of view, showing tangible species such as goats and rams, boars, etc. is also a good way to better believe the detailed definitions in a symbolic format. For example, in Iranian mythology, the gods had an iconic form of human, animal, etc., such as Anahita, the goddess of flowing waters, seal (Mitra) of the sun’s ray. All of them are represented in symbols, signs and inscriptions that are rooted in ancient beliefs.
The symbolism of bullae of the National Museum Archive helps us to understand ancient symbols and concepts such as animism and godliness and ideas mixed with the knowledge of the times. The role of symbols on the bullae for which administrative and commercial uses is presumed clearly indicates the value of product or message, the position of the seal holders and sometimes a sign of administrative and ritual base. Therefore, the symbol of the Sasanian seal and bullae, which was used as a medium to keep ancient ideas alive based on the materials and strategies of its time, can be a useful for the sociology of the Sasanian period. Seals and bullae have been most available to the elites in the judiciary, property, shrines, etc., and diverse human profile and different names on the archive of seals is a confirmation of this statement. Other points that can be seen from the symbolism of the bullae in addition to the recreation of symbols with concepts in the style of the millennia BC, the unreasonable interaction of cultures (symbols), especially based on the trade and shrewd attitude and policy of the Sassanid empire in coexistence with neighboring lands. Fleshy artistic style of arrays (especially human and animal species) is also a rare phenomenon in the history of Iranian art, although the geometric style of the Sassanid seals of Devin and Ajmiadzin of Armenia, or Qasrabun Nasr in the museum The New York Metropolitan, can be the result of the influence of individuals, the mass production of seals, the artistic style of seals and sometimes their inseparability from Parthian or pre-Party specimens.

Abstract
The pearl motif stands out as one of the most prominent and widely used decorative elements in Sasanian art, with its diverse reflections evident in the cultural and artistic works of the era. This study aims to explore the significance and position of this motif in Sasanian decorative arts, analyzing it as one of the most notable designs employed in royal ornaments and as a sacred or meaningful symbol. The research adopts a fundamental approach, utilizing descriptive and comparative-analytical methods, with data collected through library-based studies. Findings reveal that the use of the pearl motif in Sasanian art extended beyond mere decoration, serving as a symbolic, spiritual, and royal element. The analysis indicates that the motif was deeply connected with Zoroastrian beliefs, representing farr-e izadi (divine glory). This symbolic motif was extensively featured in various decorative arts, including silk textiles, gold and silver vessels, coins, and architectural adornments such as stucco and wall paintings. The use of the pearl motif emphasized themes such as royal legitimacy, divine sanctity, and the aspiration for increased divine favor, ultimately leading to greater prosperity and success. The results highlight that the pearl motif, by bridging religious and social values, became a cornerstone of Sasanian decorative arts and a powerful symbol of the interconnectedness between humanity, the divine, and the royal order during this period.
Keywords: Pearl, Symbol, Decorative Art, Sasanian, Farreh Izadi.

Introduction
The motif of the pearl in Sasanian art stands out as one of the most prominent and widely used elements in the artistic decorations of this period. Beyond its decorative aspects, it served as a symbol of spirituality and royalty. Despite its significance, existing studies have not comprehensively analyzed its meanings and applications. The symbolic use of pearls in art emphasized royal legitimacy, divine sanctity, and the attainment of khvarenah (divine glory) and greater prosperity. This paper demonstrates how pearls, as a significant symbol, established a profound connection between humans, deities, and the royal system. 
Despite the importance of pearls in the Sasanian era, current research lacks a thorough analysis of their meanings and functions in Sasanian art. This study explores the roles of pearls in Sasanian art, examining their association with the spiritual and social values of the time. It also highlights how this symbolic element reflected the relationship between humans, divine beings, and the royal order. The primary goal of this research is to analyze the significance and role of the pearl motif in Sasanian art. It aims to show how this motif, beyond its decorative purposes, embodied spiritual and social meanings and served as a symbol of khvarenah and royal legitimacy in artistic works.
This study also investigates the various applications of the pearl motif in Sasanian decorative arts, including textiles, vessels, coins, and architectural ornamentation. It examines its connections to Zoroastrian beliefs and its impact on the social and religious values of Sasanian society. Moreover, it analyzes how the pearl motif was used to emphasize royal legitimacy and to secure prosperity and well-being, while also exploring the bond between humans, divine entities, and the royal system as reflected in artistic works.
The key research questions are: What symbols and functions does the pearl represent in Sasanian art? How are the most significant visual manifestations of the pearl motif related to the spiritual values of the Sasanian era?
In response to the first question, the hypothesis suggests that the pearl motif in Sasanian art transcended its decorative nature, symbolizing spiritual and royal values that reflected the religious and social beliefs of Sasanian society. For the second question, it is hypothesized that the visual expressions of the pearl motif, through specific designs and compositions, were closely tied to spiritual and ideological values and served as a symbol of khvarenah and royal legitimacy in artistic creations.

Identified Traces 
Since Sasanian art was primarily intended for the court and was entirely official, its artistic elements were naturally aligned with royal objectives. Pearls, intrinsically associated with farrah (divine glory) in both tangible and abstract forms, were used extensively in Sasanian art for decorative and symbolic purposes.
One of the primary uses of pearls was as royal adornment. They were frequently seen in various types of jewelry, royal garments, crowns, and in the decorations of royal rings. A notable decorative element was the design of one or two strands of pearls, often interspersed with square jewel-encrusted pieces. This motif seems to have been one of the standard designs used in various decorations.
Among royal jewelry, there was a necklace that appeared to hold a distinctive value compared to other jewels. It consisted of a single strand of gems or pearls ending in a flowing ribbon, with three large gemstones or three royal pearls in the center. This necklace seems to have held a status akin to that of the royal ring. In Sasanian art, such necklaces were either worn by kings and deities or by specific animals on their necks or beaks.
Pearls were also used as symbolic elements in architectural decorations. Pearl-encrusted medallions and circular frames were among the most common features in Sasanian decorative and symbolic art. Beyond their aesthetic function, these pearl frames had two meaningful aspects: first, they surrounded sacred and pre-defined symbolic elements in Sasanian religious and philosophical thought, emphasizing their significance and sanctity; second, elements that were not inherently sacred gained new meaning when placed within these frames, sometimes carrying a message from the king and ultimately attaining a spiritual and transcendent quality. The concept of a sacred halo, like the pearl motifs, was also related to the notion of farrah (Sodavar, 2017: 19).

Conclusion 
The motif of pearls in the Sasanian period can be explored from both an artistic and decorative viewpoint, as well as from a mythological and religious perspective. Since Sasanian decorative art was dedicated to celebrating the finest creations of the divine, pearls, with their sacred status as symbols of Mithra, Anahita, and other deities associated with water, became one of the most prominent decorative elements. In Sasanian art, pearls were never used purely for ornamental purposes; rather, they were imbued with deep religious meanings, transforming them into a widely used and sacred motif.
Pearls were among the most common embellishments in Sasanian handicrafts and architectural decorations, serving as a visual representation of farrah. The various forms in which pearls manifested farrah included not only the usual jewelry worn by priests, courtiers, nobles, and aristocrats but also a specific type of necklace comprising a strand of jewel-encrusted pearls, with three large gemstones or royal pearls in the center. This special necklace, in addition to symbolizing power, was presented by sacred animals such as the peacock, duck, ram, and winged horse as a sign of the king’s legitimacy and divine selection as ruler.
Finally, pearl-encrusted solar rings were transformed into a sacred halo around the heads of kings and deities, symbolizing divine presence and spiritual power.