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
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.