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This research explains the principles governing major codes of "Hodhod" and "Simorgh" in the Attar's Mantiq al-Tayr, and codes of "The King of Birds" and the "Storyteller Bird" in the Avicenna's Risalat Al-Tayr. The significance of this study lies in its endeavor to abolish ambiguities regarding the meanings of these cods which due to personal and subjective trends of interpretation and commentary on these allegorical works is institutionalized. This study tackles the issue of necessary allegorical and coded writing styles when texts came to deal with epistemological concepts which was a result of conceptual conflicts that existed from fifth century to seventh century, and forced interpretations on texts’ meanings which were merely a reflection and satisfaction of expectations of critics of an age. This study is library research and is based on a thorough examination of the content of relevant literature on this subject, each in its pertinent context, followed by a co-examination of intersections between the texts and the contexts. This study concludes its premises through deep analysis and critically supported interpretations. The findings of this study reveal the contradictions that govern interpretations of the aforementioned concepts. Furthermore, findings of this study demonstrate the necessity of further investigation in this field


 

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Poetry and painting are two different ways to create works of art, and their close correlation has always been the consideration of art history researchers and literary critics. Sohrab Sepehri is an artist who has tested his taste in both the fields of poetry and painting. Therefore, the present research, targeting a select collection of paintings of trees and Hasht Ketab (Eight Books) of Sepahri, in the light of the theory of Panofsky's Iconology, deals with a comparative and interdisciplinary study of these works. It also focuses on the image of trees in both poetic and painting media to analyze and explain the various structural and semantic aspects of common icons in order to discover the characteristics and connections between his poetic world and the art of painting. The main question is why and how the image of a tree acts differently in two linguistic and visual systems. Sepehri's approach to the element of tree in both poetry and painting contrasts with such concepts as dynamism and static, life and death, rootedness and rootlessness, fertility and infertile, openness, closure, and junction and disjunction whereas it sometimes gets very close to each other in such themes as strangeness and the sense of suspense. Sepehri is under the influence of the paradigm of modern Iranian painting in drawing the image of the tree and its space, in which the space is basically contracted, dark, and desperate. That's why the trees in his works act mostly in the direction of rupture. They move in the direction of disjunction from the world and the essence of existence which can be an allegory of Sepaheri's objective world.  However, the image of the tree in his poems is in line with the dominant concepts - a symbol of growth, freshness, and vitality - at the usual level far from the rhetorical signs and the uncommon domain of connotation in Persian literature. It is in fact an explanation of the ideal world of the poet.