Analytical Evaluation and Etymology of Symbolic Masks (Borge) in Iranian Ancient Culture and Literature

The real goal of this essay is to study all encrypted aspects of Iranian ceremonial masks (Borge) with through archetypical approach. Symbolic masks had always different positions in theater culture of Iranian people. They were sometimes in contrast, effective, meaningful positions for different ceremonies with symbolic, decorative, natural and entertaining modes. Symbolic masks (Borge) have been applied through the time as scene accessories for providing symbolic roles in public culture. Iranian culture and literature has so much reasons and assumptions for all cultural differences of symbolic elements. The relevant stories and backgrounds of masks make this process as clear as possible. Symbolic masks (Borge) are based upon various stories related to ancient characters (oral or written) of public culture with various theater, political, comic, cultural, social and even economic applications. According to the results of this study, it is clear that symbolic masks are famous in Iranian culture and language as Borke, Borka, Borg and/or Borge. They are a symbolic concept with companionship of crow in all seven indigenous native and religious rituals of the Myth of Mitra. The origin of symbolic masks (Borge) returned back to the 3rd millennium BC in Iranian culture and literature. At present, symbolic masks are used by people in south part of Iran, Afghans, Arabs, Armenians and other Non-Iranian groups. They are sometimes named as Borghe’ in Arabic culture and language. Armenians have also a drama ritual named as Barigentan which is named as Masquerade Ball (Bal Masque) by Armenia scholars of art. Iranian symbolic masks (Borge) have found symbolic form in compliance with rituals, seasons and cultures. The research method of this study is library-documentary-field one (Participative observations of writer in research field).