Abdi, N. (2013). Dar-Amadi Bar Iconology [An Introduction to Iconology]. Tehran: Sokhan.
Afzaltousi, E. S. & Sanji, M. (2015). Motifs and images related to the Evil Eye in Iranian wovens. Negareh, 9(31), 77-90.
Allemagne, H. R. D. (1956). Du Khorassan au pays des Backhtiaris: troismois de voyage enPerse. (B. Farahvashi, Trans.). Tehran: Amirkabir.
Attar, F. (2007). Asrār-Nāma. (M. R. ShafieiKadkani, Ed.). Tehran: Sokhan.
Attar, F. (n.d.). Dīwān: the Ghazaliat. Retrieved October 29, 2021, from https://ganjoor.net/attar/divana/ghazal-attar/sh701/
Azizi, R. & Moqareh Abed, N. (2019). Qajar Jewellery Special Attention to Some Depicted Jewellery from Isfahan Museum of Decorative Arts. Isfahan: Isfahan Municipality Recreational and Cultural Organization. Center of Isfahan Studies and House of Nation.
Bahrampour, N. (2008). Barresi-ye Nemad-ha-ye Moghadas-e Iran dar Sofal [A study of Iranian holy symbols in pottery]. Tehran: ShahrAshob.
Bahnassi, A. (2008). Islamic Art (M. PorAghasi, Trans.). Tehran: Soore Mehr.
Baker, P. L. (2006). Islamic Textiles (M. shayestehFar, Trans.). Tehran: Institute for Islamic Art.
Bloom, J. et al. (2010). Manifestation of Meaning in Islamic art (A. Gheitasi, Trans.). Tehran: Soore Mehr.
Blokbashi, A. (2019). Batel Al- Sehr. Retrieved October 29, 2021, from https://www.cgie.org.ir/fa/article.
Bokhtourush, N. (2001). Neshane-ye RazAmiz [Mysterious symbol]. Tehran: Forouhar.
Bokhtourush, N. (2005). The Iranian Banner from Ancient Time to Today. Tehran: Behjat.
Brend, B. (2010). Islamic art (M. shayestehFar, Trans.). Tehran: Institute for Islamic Art.
Bruce Mitford, M. (2015). The Illustrated Book of Signs and Symbols. (M. Ansari & H. Bashirpour, Trans). Tehran: Sayan.
Dadvar, A. & Mansori, E. (2006). Dar-amadi bar Ostoure-ha va Nemad-ha-ye Iran va Hend dar Ahd-e Bastan [An Introduction to the Myths and Symbols of Iran and India in Ancient Times]. Tehran: Kalhor.
De Beaucorps, M. (1994). Les Symboles Vivants. (J. Satari, Trans.). Tehran: Markaz.
Dehkhoda, A. A. (n.d.). Dehkhoda Dictionary. Retrieved December 28, 2021, from https://www.vajehyab.com/?q=چشمارو&f=dehkhoda.
Ettinghausen, R., Grabar, O. & Jenkins, M. (2003). Islamic Art and Architecture 650-1250 (Y. Azhand, Trans.). Tehran: SAMT.
Farahvashi, B. (2000). Iranwich. Tehran: University of Tehran.
Ferrier, R. W. (1995). Honar-ha-ye Iran [Persian Art]. (P. Marzban, Trans.). Tehran: Farzan.
Fingesten, P. (1959). Sight and insight: A contribution toward an iconography of the eye. Criticism, 1(1), 19-31.
Ghirshman, R. (1967). L’art de L’IRAN (I. Behnam, Trans.). Tehran: Bongah-e Tarjomeh va Nasher-e Ketab.
Gillow, J. (2010). Textiles of the Islamic World. New York: Thames & Hudson.
Gluck, J. & Gluck, S. H. (1977). A Survey of Persian Art. Tehran: Bank-e- Melli-ye Iran.
Godar, A. (1979). Honar-e Iran [Persian Art]. (B. Habibi, Trans.). Tehran: National University of Iran.
Grenet, F. (2006). Iranian Gods in Hindu Garb: The Zoroastrian pantheon of the Bactrians and Sogdians, Second–Eighth Centuries. Bulletin of the Asia Institute, (20), 87-99.
Hall, J. (1995). Illustrated Dictionary of Symbols in Eastern and Western Art (1st Ed.). London: Routledge.
Iravani Ghadim, F. & Hessari, M. & BeikMohammadi, Kh. (2012). Typology and attitude to theory bronze disc pinhead of Luristan. Archaeology of Cultural Persia, 1(1), 23-42.
Irwin, R. G. (2010). Islamic Art (R. Azadfar, Trans.). Tehran: Soore Mehr.
Jamalzadeh, M. A. (1966). Shir va Khorshid dar Parcham-e Iran va Seke-ha-ye Ghadimi [Lion and sun in the flag of Iran and old coins]. Honar va Mardom, 4 (41 & 42), 6-8.
Jahanshahi, A. & Madahi Moshizi, J. (2017). Amulet in folklore culture: The case study of Kerman’s people folk culture. Culture and Folk Literature, 5 (13), 27-50.
Jean, Ch. & Gheerbrant, A. (2009). Dictionnaire des Symboles: Mythes, Reves, Coutumes and …. (S. Fazaeli, Trans.). V. 3. Tehran: Jeyhoon.
Khazaee, M. (2002). HezarNaghsh [A Thousand Motif]. Tehran: Hozeh Honari.
Labaf Khaniki, R. (2009). Rishe-ha-ye Ostoure-’i-ye Tazyinat-e Sofal-Mand Gonabad [Mythical roots of Gonabad pottery decorations]. Collection of Proceedings of the Forgotten Art Treasures of Iran. V. 2. Tehran: Iranian Academy of the Arts & Matn Publication.
Mohammadimilasi, A. (2019). Studying the motifs of Imamzadeh Shah Seyyed Ali Isfahan with emphasis on concepts and structure in Iranian art. Art and Civilization of the Orient, 7(26), 67-80.
Panofsky, E. (1955). Meaning in the Visual Arts (Papers in and On Art History). New York: Doubleday and Company, Inc.
Panofsky, E. (2009). Iconography and Iconology: An Introduction to the Study of Renaissance Art,In D. Preziosi (Ed.), The art of art history: A critical anthology (2nd ed.). Oxford, UK: Oxford University Press.
Panofsky, E. (2018). Studies in Iconology: Humanistic Themes in the Art of the Renaissance. New York: Routledge.
Pope, A. & Ackerman, Ph. (2008). A Survey of Persian Art: from Prehistoric Times to the Present. (N. Daryabandari, Trans.). V. 5&11. Tehran: Elmi va Farhangi.
Pope, A. (2010). Masterpieces of Persian art (P. NatelKhanlari, Trans.). Tehran: Elmi va Farhangi.
Pourdavoud, E. (1998). Yasht-ha. Tehran: Asatir.
Pourkarim, H. (1974). Naghsh va Negar-ha-ye Amiyaneh va Ahammiat-e Gerd-avari va Barresi-ye An-ha [Folk motifs and the importance of collecting and examining them]. MardomShenasi va Farhang-e Ammeh-ye Iran, (1), 22-29.
Rahmanian, D. & Hatami, Z. (2012). Charm and magic, talisman and spell, and women world in Qajar Era. Historical Studies, 3(2), 27-44.
Rajaey, A. (1966). Cheshmarou Chist? [What is “Cheshmarou”?]. The Journal of Faculty of Literature of Mashhad, 1(4), 396-403.
Sa’di, M. (1942). Koliiat-e Sa’di [Complete Works of Sa’di]. (M. A. Foroughi, Ed.). Tehran: Brokhim Printing House.
Salek Akbari, M., Hojabri Nobari, A. & Afhami, R. (2020). The semiotics of central Zagros Iron Agepins head. Pazhouhesh-ha-ye Bastan-Shenasi-ye Iran, 9(23), 71-90.
Shahparvari, M. & Mirza-Amini, M. (2016). Manifestation of sun motif in Iranian carpet. Glory of Art (Jelve-ye Honar), 8(1), 55-66.
Ulmer, R. (2003). The divine eye in ancient Egypt and in the Midrashic interpretation of formative Judaism. Religion & Society, (5) 8, 1-17.
Masterpiece of Persian art from polish collections. (2013). (M. Tadeusz, Ed.). Tehran: Iranian Academy of the Arts, Matn Publication.
Yaghoubzadeh, A. & Khazaie, M. (2019). Amulet and relic motifs, Case Study: LorBakhtiari hand-woven. Art and Civilization of the Orient, 7(25), 43-54.
Yahaqqi, M. J. (2007). A Dictionary of Myths and Narrative Symbols in Persian Literature. Tehran: Farhang-e Mo’aser.
Zeilabi, N. (2016). The link between talismans and figural images in Islam. Islamic History and Civilisation, 12(23), 3-28.