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The narrative structure in texts includs the characters, events and actions of the characters in the story that have been presented from the past to the present. In the field of sign-semantics, and the analysis of narrative systems their function and meaning production and reception are important. In narratology, structuralists seek to investigate the order governing the narrative and discover the internal proportions, relationships and links existing on the constituent elements of the narrative. In this process, Propp and Greimas rely on the method of narratology. Propp creates specific narrative patterns for the analysis of folk tales and addresses the functions involved in the plot and role of the characters and their interrelationships. Greimas was one of the structuralists who based Propp's research on a larger scale. Greimas action pattern is one of the useful tools in identifying the structure of the narrative. According to Greimas theory, each narrative has two main and superficial levels. The main level includes the action pattern and the main basis of narrative structure analysis. The action pattern is realized based on the analysis of dual contrasts and narrative chains. In this model, each narrative system consists of six parts which are the actors and the event and the description of each event. These divided and each has an action axis (demand /power /send). In this research, a picture of Timurid Zafarnameh dated 935 available in Golestan Palace Library, containing 24 illustrations, has been analyzed using Grimas action pattern analysis method. One of the most important books of Timurid period is Zafarnameh of Timurid. Zafarnameh was written by Sharaf al-Din Ali Yazdi on the order of Ibrahim Sultan in Shiraz and finished in 828 AH, as a biography of Timur. Zafarnameh was chosen among the historical manuscripts, Kamaluddin Behzad painted it and Sultan Muhammad wrote it. Considering that so far, no research has been done on this book based on narratology. Its painting is based on a historical text and is far from fantasy. In this research, the main design in the structure of the narrative has been investigated by using double contrasts, narrative chains and Greimas action pattern which structurally belongs to a single text and the image and narration of the text related to the image. Also, the similarities and differences of the action model in comparison with the text have been investigated and finally the relationship between the narrative structure of the text and the image has been evaluated. Accordingly, the picture as an independent text has two levels of infrastructure and superstructure. The research results show that Greimas model is an analytical model compatible with painting.

The analysis of the ancient artifacts of civilizations of the Middle East region, such as figures, reliefs, wall paintings, decorative motifs, seals, texts, and other works found in temples, palaces, and tombs, proves that music was an integral part of civilization in this region. As the people held special sanctity for it. Ancient Elam is a clear example of this issue. Studies show that the civilization and culture of ancient Elam were mixed with music, as the presence of music is clearly seen in all religious ceremonies and celebrations, including prayers, sacrifices, vows, royal meetings, mourning and burial. The artifacts of this civilization are evidence of the importance they attached to the place of music and musicians. Analyzing the artifacts left behind by ancient Elam, such as cylindrical seals, terracotta figurines, and reliefs primarily found in Shush, Haft Tepe, Chaghamish, and Kol Farah, can provide insight into the profound relationship between music and myth in Elamite culture. The purpose of this research is to analyze the special perspective of Elamite society towards music and prove its connection with mythological beliefs in this civilization. The information and data of this article were obtained in the field method, by referring to the antiques and archives available in the National Museum of Iran, as well as the documentary method, by referring to the available documents and sources, and finally, by the descriptive-analytical method they have been investigated and implemented. The key research questions are as follows: 1. What is the relationship between mythological beliefs, music, and Elamite musicians? 2. During which historical period in Elam is the connection between music and myth most evident? 3. How do the physical attributes of musicians depicted in artworks, such as nudity and gender, relate to mythological concepts?The result of this research shows that the Elamite society looks at music as a connection between man and the world beyond man based on mythological concepts. This special view in the second millennium BC with the appearance of terracotta figures of musicians becomes more intense than in any other period. Because focusing on individual characteristics in these works stabilizes the relationship between musician and music with mythological concepts.

Griffin is a famous mythological hybrid creature, which is made of two other powerful animals: the lion and the eagle. This hybrid animal connects the powers of the lion, as the earth’s king, to the powers of eagle, as the sky’s king. So, it is considered as one of the most important symbols of power and kingship in every civilization. Although some remaining instances in Egypt show the image of the griffin, but according to the research results of the Ashmolean museum, the Elamites were the first people to use the creature and soon after, different kinds of the animals were used in other civilizations like Mesopotamia, Egypt, Greece and even in the Far East. The Greeks used this motif enthusiastically in accordance to their artistic methods. So, the griffin became a common motif in Greek art. This research is a content analysis of different kinds of the griffin motif in Iran and Greek.The research is based on studying 145 samples of the motif from both countries using the relational method in the final analysis. The aims of the research are to analyze the motif according to the mythological beliefs. It is sought to find the answer to two main questions about the griffin motif: 1- what are the similarities and the differences between the motif in Iran and Greece? 2- How do the mythological beliefs affect the form or the usage of the griffin in both countries? The study is categorized into three aspects: first, the origins of the griffin are studied. Second, the form and shape of the griffin are discussed based on the samples. This includes the comparative study of the form and shape in both countries. In the third part, the mythological analysis of the motif is conducted according to the myths related to griffin. The results of the study show that the methods used in illustrating the griffin motif are according to the artistic methods of each country. The griffin has commonly been used in Iran since the Elamite era, but it has been used in Greece just after 1700 BC, in Crete, during Minoan art. The griffin in Iran has different forms and styles while in Greece it remains in the basic form as the combination of an eagle’s head with the lion’s body. Besides that, the Iranian form of the griffin was used as the schema for the Greek types. The open-mouthed forms of the griffin were common during the Parthians of Iran, and it became the original form of the griffin in Greece. However, it should be taken into consideration that in Greece, the griffins were more natural and energetic in design. The Greeks tended more to make busts of the griffin, while in Iran its reliefs had been more common. In Iran the griffins are the guardians of the winged disc, tree of life or the fire altar, and the viewers of the king’s religious party; beside the king in formal ceremony or alongside him in battles. Sometimes the king haunts the griffin. The haunting scenes of griffin by the king may convey symbolic concepts of victory or power. The Greek griffins are also showed as the guardians, but they are always in battle with the gods’ or goddesses’ enemies. Sometimes the gods Apollo, Dionysus, and the goddess Athena ride on the back of a griffin. While the Iranian types of the griffin are always sitting on hind legs, sitting, or standing straight and calm, the Greek griffins are open-mouthed, roaring, and even in attacking position. Another important characteristic of the griffins is their horn, and ears. Sometimes the griffin has two horns, which is the characteristic of the Iranian types. The horns show the godly, manhood power. The ears belong to donkey or horse, and showing them as a part of griffin’s body affects its concepts, and that’s why the animal is a symbol of wisdom. It seems that in Greece, accompanying the gods can simply change the roles of the griffin to a divine beast, but the symbolic concepts of griffin are more effectively used in Iran. The griffin in Iran is always showed in great serenity with dignity beside the king. In Iran some other related symbols to the griffin are the life plant, and the winged circle, but they have never been used with the Greek griffins. It is obvious that the griffin in Iran has the highest level of power and dignity. In both countries, the griffin is the most important symbol of the great power; the power that in Iran belonged to Inshushinak and Mithra, while in Greece belonged to Apollo, Athena and Dionysus. The creature is connected to the heavenly symbols of the sun and lightening, and is also considered as the symbol of protection, victory and wisdom.

The Sasanian art is the reflection of mythological concepts in connection with the Zorastrian beliefs. The mythological concepts of this period are conveyed by various representations of natural motifs such as plants, animals, the birds and mythical creatures. So the motifs may show a profound symbolic concept. Although camel is a rare motif in Sasanian art but it is related to obscure mythical concepts. The camel motif was used in Iran from the prehistoric times. The first two examples are  the camel motif painted on the potteries found in Teppe Sialk, which is related to the third millennium B.C., and a bronze ax-head discovered in a grave at Korab in Sistan which had a sitting camel on it.  During the Sasanian period, this motif is found on the seals (Qasr-i AbuNasr, Tacht e Suleiman), metal vessels, stone reliefs (Hatra and Palmyra), wall-paintings in castles (Panjikent, Afrasyab). The importance of these specimens on which the camel motif is used, shows the credibility of the motif. The study aims to study the mythological backgrounds of the motif and its relations to Zorastrian concepts. Understanding the symbolic ideas of the camel motif is the main aim in this study. The present study uses descriptive-analytical method and data collecting method is Purposive sampling.  The name of the prophet Zoroaster in Avestan language is “Zaraẟuštra”. The second part of his name is the Avestan word for camel, “Uštra “. Although different interpretations have been suggested for the meaning of the name but it is more accepted that the name of the prophet means “who is fostering/cherishing camels” or “he who can manage the camels”. other the meanings like “longing for camels" and “he who is with angry/furious camels” are also proposed. Therefore, the camel may symbolize the concept of bearing knowledge and spreading the light of faith in the dark of infidelity. It clarifies the reasons of using the camel symbol on the Sasanian seals belonging to the priests. Besides that, the motif of camel is used in the reliefs of the warriors in Hatra and Palmyra. The research results show that the camel motif was the absolute depiction for war gods in Near Eastern cultures. The gods named Arsu, Ruda, Reshef, Bahram and Vahagen are all related to the camel. Arsu, Reshef and Ruda always ride the camel in complete armor. Although Bahram and its Soghdian identification “Vahagen” were never showed riding the camel, but in Avesta camel is described as one of the incarnations of Verethraghna(Bahram/Vahagan).In Yasht 14, lines 10-13 are dedicated to camel, as the persistence and determined symbol of Bahram and is described as a long haired beast of burden, with sharp teeth, quick eyed and bright strong sight. The camel has ventured far sight and is capable to see in the deep dark of the night which symbolizes the vision inside Bahram. The bravery, uncontrollable victory, the furious, inevitable fighting powers of Bahram are all symbolized with the natural powers of the camel like his uncontrollable temperament and greatest strengths.

Reverie imagination used in the lyrics can be traced in mythological and cultural collective unconscious. The contradiction of good and evil in the romantic story of Khosrow and Shirin, converts the central theme of the story into a heroic one. These heroic concepts can be recognized by using the formula of Gilbert Durand’s method in configuring aspects of human imagination. The nature of image is at the central point of Durand’s thought, and the binary structural base he points is dynamited at the outset by the possibilities of the ternary. Durand’s method deals with the structure of the human imaginary, within which it stablishes a typology of figures, and organized according to several central archetypes. Thus he postulates two main orders of image, the diurnal and nocturnal, corresponding to two general types of imagination. The Diurnal Order is characterized as diuretic, whereas the Nocturnal Order is to be found two subgroupings: the synthetic and the mystical. These categories are underpinned by the reflex dominants. It uses the human reflexes (postural, digestive and sexual) as material for its demonstration, and examples taken from the mythological collective unconscious. The analysis is based on 6 distinguished paintings related to the books of Khamsa which were designed during the Timurid’s era. So, the research is comparing the pictorial methods used in the paintings to show the imaginative characteristics of the story with the imaginative phenomena’s in the text of the story. Analyzing the text shows, the usage of different diurnal and nocturnal symbols such as: death, ascension, dagger, killing, water, dripping, bloodthirsty, trembling, anger, and so on. In the paintings, the artist uses some of these symbols like dripping, death, dagger and etc. In order to achieve the imaginary boundaries of imagination the poet encompasses, some other visual techniques helped the artist, like: the use of vertical and horizontal axes with positive and negative values as well as dividing the image into two parts with some pictures that have positive and negative evaluations. Finally, the results show that the painters are totally depended on the poet’s aspects of imagination especially in the basic elements and descriptions of the principals and essentials of the story in the text. But also, in order to compensate the limitations of painting, they used new technical painting methods which in some cases are further than imaginative.

Rhytons were used for drinking water or the holy wine in shape of a forepart of an animal body or a combination of the head and the horn of the animal. People believed that the strength of the animal would be transferred to them while drinking in the Rhyton. It is assumed by most scholars like Hertsfeld, Ghirshman, Porada and Amiet that Iranians were the first people to use the rhytons and they made the vessel a common type all around the ancient Near East. The Achaemenian rhytons are mostle made from gold or silver and were found from treasures. This research is studying 135 Achaemenian Rhytons. The results of this study show that two types of rhytons were more common during the Achaemenids’: conical and cylindrical. The animals used in making the rhytons were lion, bull, ibex, and antelopes. These animals are the attendants and comrades of four Persian gods and goddesses including Anahita, Mithra, Tishtar, and Bahram. The cosmological figure of these four is venerated as the divinity of ‘the Waters’ and associated with fertility, healing, and wisdom. Besides, Bahrām is the most considered god between the king and his soldiers. In Avesta, Bahrām has all the characteristics of an ancient warrior god, the personification of a force that shatters and overcomes any resistance or defense. The goat, antelope or even the horned ibex are the comrades for Bahram. Mithra is the moral sense of the contract, promise, friendship, and alliance. The alliance is more important since an alliance can include a mutual benefit which is binding. The alliance is very well suited to be the moral foundation of a society whose welfare depends on peace. Therefore, it is definitely obvious why the lion and winged bull are mostly used as the representations for Mithra. In conclusion, it is obvious that the Achaemenian rhytons were used as a mythological vessel especially in ritual ceremonies to gain the gods’ protection and potency.

What is different about Iranian art is the use of hybrid motifs which is a characteristic of the Iranian art. The hybrid forms show the impact of the mythological beliefs. These beliefs also have changed a lot so it is hard to recognize the exact meaning of these motifs. Shahnama is the source of great myths in Iran and is the main source for tracing myths between the Islamic periods and the mythological beliefs before Islam. This research is based on studying the snake-man which is known as Zahak in Shahnama. The research focuses on three cylinder seals (the impressions found) which show the snake-man. These cylinder seals were found in Susa, Tepe Yahya and Tepe Shahdad. All three date back to the third millennium B.C. The snake-man which has two snake or dragons on the shoulders was well-known in Iran and Mesopotamia. The god of the dead is basically showed by this motif in Mesopotamia. Especially, Ningišzida is a Mesopotamian deity of the underworld. His name in Sumerian is translated as "the lord of the good tree". The city of Lagash had a temple dedicated to Ningišzida, and Gudea, patesi of Lagash in the 21st century BC, was one of his devotees. Moreover, what is so different about the Susa seal is the scene which shows a man flying to the sky. This reminds the myth of Etana in Mesopotamia. The results of this study show that a of myth was known in Iran during the 3rd millennium which may reflect some influences of Etana myth and the myths related to the snake-man known as Zahak in Shahnama. Although there is not much known about the Elamites’ gods, Inshûshinak ,the great Elamite god, may be more connected to this motif than other deities in Iran because he is also best known for his reliance to the dead bodies and underworld. What is so interesting is that the most outstanding characteristic of Zahak is connected to his power of death through killing the young men in his myth. So the study believes that the man with snakes on his shoulders has been the god of underworld and death in the history.

Zoomorphic vessels with two holes for pouring water are recognized as rhytons. These drinking vessels are commonly used in the Persian art. Different animals are used in making the rhytons. Diversely hybrid or real animals can be seen in the rhytons. During the Parthian era، different styles were used in making rhytons. This was because of vast territory of Parthians. Studying the style of rhytons perfectly shows the effects of different tribes like the nomads of Central Asia، as well as the art of the Persians and the Greek. In fact، the art of the two nations are the main styles of making rhytons. To put it better، the Parthian ryhtons can be categorized in three main groups: 1-Persian –Hellenistic style، 2- Local style and 3-Persian style. In all three styles، the forepart of the body of an animal is used in making the rhyton. Horn shaped rhytons are commonly used in Persian-Hellenistic style while the conical forms are mostly seen in the Persian style group. In Persian-Hellenistic style، they have a long shaft and a conical part resembling much to the horns of the animals. They all ended to the forepart of the body of an animal. In some examples، a human body is used. In the Persian style، the conic part is connected to the animal head in a 90-degree angle. These rhytons are the most important artifacts that show the cultural impact of Persia and Greek in Central Asia. The decorations on the body of Persian style rhytons are simple. On the conical parts، horizontal grooves are used. The decorations in Hellenistic style show the pantheon of Greek gods or the body of them around the neck of the rhyton. The impact of the arts of Central Asian tribes is recognized through the usage of stag or floral motifs. Generally، the construction and decoration of the Parthian rhytons include: 1 - Characteristics of Greek culture with religious and symbolic images، like pantheon of Gods. 2- The characteristics of Hellenistic art like nude figurines، flouncings and protomes that are not common in Persian art. 3 - Usage of hybrid creatures common in Greek art like centaurs. 4 - Special attention to Persian hybrid creatures like griffins. 5- Some special forms in Persian art like the style of wings or the repose figures with quiet dignity. 6 - Native art and culture with a vibrant and lively display mode and motion in animal bodies.