Introduction
The cultural geography of the Bakhtiari people is deeply rooted in ancient Iranian traditions, beliefs, and rituals. The Morghaki-Ghochaki motif in Bakhtiari handwoven textiles is one of the nomadic artistic designs that reflects Iranian myths and religions, serving as a legacy of the symbolic thinking of past generations. At first glance, this motif may appear very simple and rudimentary, but it embodies rich symbolic meanings upon closer examination.
From the perspective of the anthropology of art, every phenomenon must be interpreted within the framework of its meaning and ontological position in the cultural context that created it. Only by understanding the symbolic system governing a society can anthropology gain a profound and accurate understanding of its cultural and artistic components and manifestations.
The science of symbolism is a precise and methodical discipline that can only be understood by recognizing the qualitative meanings of tangible forms and their connection to metaphysical dimensions. Traditional artists, with
a deep understanding of symbolism, created various art forms rooted in these principles.


Materials & Methods
The present research employs a descriptive-analytical method based on documentary studies. It synthesizes previous research findings, including books and articles on Bakhtiari culture, symbolism studies, and investigations into ancient Iranian culture. Additionally, interviews and discussions were conducted with several researchers and experts on Bakhtiari culture, particularly traditional and master weavers, regarding the motifs under discussion.
Since this study adopts a qualitative approach and a phenomenological method, the discussions are framed within hermeneutic principles. We have endeavored to organize the topics of this article within the framework of art anthropology while extensively benefiting from the present study, the author aims to explore the symbols of the ram and the bird in Bakhtiari culture by adopting an interpretive and symbolic anthropology approach. Both emic and etic perspectives have been simultaneously considered at various stages of the research. interdisciplinary studies.
Discussion & Result
Bakhtiari culture, customs, and art, being untouched and pristine, are rich with ancient Iranian symbols and beliefs. Understanding this heritage requires comprehending the semantic system that governs this society. Thus, this study aims to explore the cultural foundations and ancient IThe study of the motifs in Bakhtiari handwoven textiles and prehistoric pottery from southwestern Iran reveals a remarkable unity, highlighting these motifs' authenticity and symbolic dimensions. The ram symbol, prominent in Luristan bronzes, Susa pottery, the Avesta, Pahlavi texts, and Sasanian art, represents royal power and divine glory (farr-e izadi). The gypsum panel from Tisfun (Ctesiphon), dating back to the 6th century CE, depicts a ram with wings, potentially evoking the motif under discussion. Iranian beliefs shape the artistic and symbolic dimensions of the Bakhtiari tradition.
Conclusion
In traditional civilizations, the selection of motifs and designs was not based solely on aesthetic criteria; rather, these motifs, across all traditions, ethnicities, and nations, hold meanings beyond their tangible reality, rooted in the culture and worldview of their creators. The ram motif, for example, carries symbolic significance in various human civilizations, from Egypt and Greece to religious texts such as the Vedas and Avesta, representing divine glory (farr-e izadi) and sacred charisma.
Similarly, birds, symbolizing the ethereal ascent of the soul towards the divine, are considered manifestations of divine grace (farr) due to their symbolic qualities. The Varaghna, a mythical bird mentioned in the Avesta, serves as a symbol of Ahura Mazda in the form of a falcon and represents the sacred animal embodiment of farr, enriching Sassanian art with its presence.
The combination of the ram and bird motifs appears to symbolize the unification of Iranian divine glory (farr-e Irani) and sacred divine charisma (farr-e izadi), a duality that is repeatedly expressed in this artistic motif.