Scholars believe that at first Griffins were appeared in Assyrian art or perhaps in some part of Chaldea near Babylon. The lintel of the entrance door to the palace of the Assyrian king  Sennacherib, seven centuries before Christ, was decorated with two Griffins drinking from a vessel placed between them.

Griffin through the history:

In the Ancient age, Greek Ctesias who was the physician to King Artaxerxes of Persia, believed in the existence of Griffins inhabitining some far distant place and he described them as four-legged birds the size of wolves, whose backs were covered with black feathers and their breasts with red ones.

In Greece this kind of hybrid animal goes back at least as far as the 16 century B.C. In Crete, in the palace of King Minos at Knossos on each side of the throne, huge griffins lie in fields of lilies which were the emblematic flower of Cretan Royalty. Also the motif of Griffin was depicted on the coins in Greece. Pliny describes the "Griohis" whith his customary richness of fancy and declares they come from Couuntry of Schythians, that is northen Russia While Aeschylus locates them among the Ethiopians.

Plaque with a Winged Lion-Griffin, Achaemenid, 500–330 BC. Gold, 1/8 × 4 1/8 × 4 1/4 in. The Oriental Institute of the University of Chicago.

The meanings of Griffin symbol:

We don't know all the symbolic meanings of Griffin but it is important to know that in the symbology, one of the fundamental rules is that every symbol has both of demonic and celestical meanings. For instance, the engraved Griffin on a Babylonian cylinder is an evil-doer or the adversary of the Tree of Life. In contrast, among the Greeks, Griffins are the animals of light and it is the reason that sometimes they sit at the feet of statues of Apollo, the god of light and beauty. An old coin from Smyra has on one face the head of Apollo crowned with laurel, and on the reverse side a crouching female Griffin with it's paw on the solar wheel. Also in Ancient Persian and Assyrian art, the Griffin drinks flame from the cup of the fire altar which was connected to the light.

 Notably, in some places the Griffins were engraved near the thrones meaning that they are guarding the thrones. In Hellenic tradition Griffins were the guardians of tombs. Herodotus stated that griffins are the vigilant and invinvible guardian of god's treasures, and on a higher plane, "The guardian of the way of salvation.

Also Griffins like the dragons, were the guardians of one of the most precious colored jewels, the emerald. At the end of the fifteenth century, Joannes de Cuba said that the finest emeraldswere those taken from the nest of griffins who guard them with great cruelty.

Griffin statue, Persepolis

But mainly, Griffins represent the values of both Lion and Eagle, The king of the earth and The King of the sky. The state to which the lion and the eagle, or more generally the gryphon, belong is that of the partial intellect and the universal intellect. Indeed, in all traditions, the heart constitutes the center of every being, human or otherwise, and is related to the "Heart of the World," the "Universal Intellect," or the "Divine Intellect," as well as to the element of "intuition" and the intuitive intelligence. In another state lies the brain, which corresponds to the discursive (or rational) intelligence or the partial intellect. The heart is a sacred symbol and the preserver of cosmic life. 

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A significant discussion on this matter concerns the nature of the relationship between the universal intellect (the heart) and the discursive (or rational) intelligence (the brain). These two may be regarded as complementary, for both can, in a certain sense, be interpreted as poles. Yet such a view may leave a residue of duality, separation, or even opposition. In traditional cosmology, however, this duality and the existence of two poles is a relative matter, for ultimately, unity pervades all things. Thus, the relationship between the universal intellect and the discursive (or rational) intelligence is, in truth, of another kind, namely, a "relationship of subordination," in which one relies upon the other. Consequently, the discursive (or rational) intelligence (the brain) is in subordination to the universal intellect (the heart). 

To elucidate this, one may refer to the symbol of light. Light is the most common symbol of knowledge. The heart corresponds to the sun, and the brain to the moon. In certain traditions, the sun and the moon represent two principles—active and passive, or masculine and feminine—indicating a complementary relationship. As the Scriptures state: “God made two great lights; the greater light to rule the day, and the lesser light to rule the night” (Genesis 1:16). Yet in their inner essence, in the supra-formal order, the sun is the source of light, whereas the moon merely reflects the sun's radiance. This sun–moon relation applies equally to the heart and brain, or to the universal intellect (or intuitive intelligence) and the discursive (or rational) intelligence (material intellect). Hence, light, as a symbol of knowledge, shines directly from the sun (intuitive intelligence, pure intellect), while the moon’s light represents derivative or reflected knowledge. The heart’s knowledge (the sun) is the direct apprehension of intelligible light; it is not transferable and must be actualized in the knower. 

Understanding this is of great importance, as it pertains closely to symbolism. By grasping the relationship between these two forms of intellect, one can comprehend the meaning of numerous symbols across different traditions throughout history. In the traditional worldview, the principle of correspondence is paramount: correspondence signifies a form of equivalence in another state. As noted, the heart, or universal intellect, corresponds to the sun, and the discursive (or rational) intelligence to the moon—but this is not the entirety of the matter. 

In the domain of metals and alchemy, gold corresponds to the sun and to the universal intellect, whereas silver corresponds to the moon and the discursive (or rational) intelligence. In the realm of animals, the lion and the eagle are solar symbols, while the ox and the rabbit are lunar symbols and relate to the discursive (or rational) intelligence. Thus, the gryphon is a being entirely endowed with solar qualities. 

This understanding may also illuminate why, in Persepolis, the lion is depicted tearing the ox apart.

The Griffin in Ascensions:

The griffin, a mythical creature with the body of a lion and the head and wings of an eagle, has a rich history in stories of ascension or journeys to the heavens. Across various cultures, this creature symbolized power, ambition, and the soaring of the soul.

In Persian legend, the mythical king Kai Kavus attempted to fly to heaven on a throne carried by four hungry eagles, though in some versions, these creatures are griffins. The most famous example, however, comes from the story of Alexander the Great. He is often depicted attempting to ascend to the heavens in a vehicle pulled by griffins. He enticed the creatures to fly upwards by holding spears with meat just out of their reach. This legend highlights the griffin's role as a powerful, sky-bound being capable of lifting a mortal towards the divine realm, even if the attempt was seen as an act of hubris.

Simurgh returning to nest to Zal and its chicks, Shahnameh Tahmasbi

In Persian mystical tradition and literature, the symbol of the griffin gradually found its counterpart in the Simurgh. In Ferdowsi's Shahnameh, the Simurgh is portrayed as a wise creature and guardian of the Tree of Knowledge, assisting heroes and acting as a guide and intermediary between the divine intellect and humanity. This role evolved in mystical works; for instance, in Attar's The Conference of the Birds, the Simurgh becomes a symbol of ultimate truth. In this work, the Simurgh represents a state of perfection that the birds (symbolizing spiritual seekers) journey towards. At the end of their quest, they realize that the truth and divinity they sought lay within themselves. Thus, the Simurgh is not merely a guide but is itself the very mystical truth, attainable through spiritual journey and inner transformation.

The Griffin in Christian tradition:

The hybrid and biformed animals were chosen by Christian symbolists to represent the nature and excellence of Christ and one of these creatures was Griffin. Griffins are not included among the animals pictured in the catacombs and when it appears on some fourth and fifth century Christian lamps, it was known as evil, but in the middle ages, the monks connected Griffin to Jesus ad his saints. Nevertheless also  in the Middle ages, the griffin  with it's rapacious beak and the huge claws of a predator and with a dragon-like rear ending in a reptile's tail often symbolized Satan which is also depicted in Sainte-Chapelle in Paris, actually this demonic meaning appears when this creature is "Griffin-dragon" with reptiles' features but when it is "Griffin-Lion" it is connected to God or Jesus.

As mentioned before, the Griffins are connected the the "Acsension" and "The Carrier of Souls upward" (Which belongs to eagle) and these values of this creature, represented Jesus Christ for Christians. The Griffin is one of the most important symbols of Christ's dual nature and like the other hybrid creatures, the eagle foreparts depict Christ's divinity and the Lion hind quarteres his humanity because of the Griffin's aerial and twrrestrial natures. As Griffin also connected the the wisdom, the highest light of the mind, also represents the Christ and this was the reason that the Griffin appears on the shield carried by Wisdom personified on the north door of the 13 century cathedral of Chartres.

Also Dante versed that:

Blest art thou, Gryphon, that with beak and bite

Thou tearest naught from this sweet-tasting wood

Seeing how ill the belly gripest from it.

As mentioned before, there was a connection between the Griffins and the emeralds, Medieval Christian symbolism adopted the old fable and because the emerald was connected  to reedimimg blood because the the cup in which Jesus blessed the wine at the Last Supper was made of a carved emerald.

Alchemists took Griffin as the symbol of the "Chemical hermaphrodite, sulphur and mercury" and also this hybrid body symbolized the two of four elements, earth and air.

Also because the eagle and lion are strong creatures and nothing can srop the griffin in it's powerful flight or it's irresistible charge, the hermetic symbolists made it represent Christ's power.

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Essence of the Surah:

Surah Al-Ikhlas (Qul Huwa Allahu Ahad), the 112th chapter of the Qur’an, is among the shortest yet most profound surahs. In just a few verses, it summarizes the principle of tawhid—the absolute oneness and uniqueness of God. By declaring “Allah is One,” “eternal,” “self-sufficient,” and beyond human attributes such as birth or lineage, the surah negates all forms of polytheism and affirms pure monotheism. For this reason, it has often been described as equal in meaning to one-third of the Qur’an.

Siurce of the picture: https://quran2hadith.wordpress.com/2012/08/13/quran-chapter-112-quran-translation-of-surah-al-ikhlas-ihsan

Significance in Islamic Tradition:

Throughout Islamic history, Surah Al-Ikhlas has been recited for protection, blessing, and spiritual strength. The Prophet Muhammad (peace be upon him) frequently emphasized its virtues. It became a central part of daily prayers, supplications, and devotional practices among Muslims of both Sunni and Shia traditions.

In Art, Architecture, and Material Culture:

Because of its brevity and profound meaning, Surah Al-Ikhlas has been widely inscribed on objects of art and devotion. In Islamic calligraphy, it is commonly written on Qur’anic manuscripts, mosque walls, and decorative panels. In architecture, its verses appear on mihrabs, domes, and tiles as reminders of God’s unity.

The surah has also been engraved on jewelry, such as rings and amulets, serving as a spiritual emblem of protection and remembrance of God. Some ceremonial weapons and banners in Islamic history were decorated with Qur’anic verses—including passages from Surah Al-Ikhlas—as a sign of divine support and blessing, though this was less common compared to the frequent use of Ayat al-Kursi.

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In Hadith and Religious Teachings:

• Shia sources: Imams from the Prophet’s household emphasized the surah’s power. Imam Ja‘far al-Sadiq, for example, is reported to have said that frequent recitation of Surah Al-Ikhlas brings closeness to God and spiritual purity.
• Sunni sources: In Sahih traditions, the Prophet is narrated to have said that reciting this surah equals one-third of the Qur’an. He also taught that its recitation brings immense reward and divine love.

Views of Mystics and Philosophers:

• Mystics (Sufis): Figures like Rumi and Ibn Arabi saw Surah Al-Ikhlas as a gateway to divine unity. For them, its words were not merely statements of doctrine, but invitations to experience the oneness of God in the heart and soul.
• Philosophers: Thinkers such as Avicenna (Ibn Sina) and Mulla Sadra reflected on the surah in their metaphysical writings, interpreting “Allah is One” as proof of God’s absolute simplicity and self-subsistence, beyond matter and multiplicity.

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According to the Shahnameh (The Book of the Kings), the Derafsh'e Kaviyani (Kaveh's flag) is the oldest flag of the Iranians, which Kaveh the blacksmith raised as his flag in the revolt against Zahhak.

Zahhak was a tyrannical ruler who became king after the Far )divine glory( of King Jamshid faded, and Zahhak ruled over Iran for a thousand years. After rebelling against Zahhak, Kaveh raised a flag against him, and as Ferdowsi mentioned in the Shahnameh:

From the leather of the oxherds' backs,
They cover themselves when wounded by the blow.
Kaveh himself set it upon a spear,
And immediately a dust rose from the marketplace.

Zahhak by Ali Jalali

Zahhak, a manuscript of Shahnameh

Thus, this flag became an emble of the people's uprising against the tyrant. This banner was also the flag of the Sassanid Kingdom and Sassanid kings sought blessings from it during battles. It was adorned with jewels and gold, and according to Ibn Khaldun, "a talisman with numbers and astrological signs was sewn onto the banner," likely to bring power and good fortune. After the Battle of Qadisiyyah, between the Arabs and the Sasanians, this banner fell into the hands of the Arabs.

Reconstructed Derafsh-e Kaviani in 2,500-year celebration of the Persian Empire

Ferdowsi, described this banner as red, yellow, and purple. Purple is created by mixing red and blue, linking the red of fire to the blue of the sky, representing the balance between the sky and the earth (the balance between the material state and the divine state), or the "Malakut state." (The middle state).

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However, the emble and pattern of Kaveh's flag can be found in many ancient civilizations and eras before the Sassanid period, including in ancient Mesopotamia. The symbol of Kaveh's banner (a circle in the center with four ovals at its corners) is a very important and ancient symbol. One of the meanings of the circle at the center of this symbol represents the vital center of a being, and this center can have significance in different existential states. For example, the circle can symbolize the pole or center, and the four ovals around it can represent the four main geographical directions (North, South, East, and West), and the four surrounding circles can represent the four secondary geographical directions (Northwest, Northeast, Southeast, Southwest). It is also important to note that in the traditional world, the number “four” holds great significance and importance (the four elements, the four directions, etc.), and together with the central circle, it forms a set of five. In this case, the central circle symbolizes the principle and center. In the physical state and among the four main elements, the center circle is the element of Aether which known as the fifth element.

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The use of flowers in Eastern symbolism is both extensive and deeply rooted, present across the vast majority of traditional doctrines. Among these, the lotus—undoubtedly one of the most emblematic—occupies a privileged position in the symbolic language of the East.

Lotus flower in Persepolis

One of the fundamental meanings of the flower as symbol is that of spiritual unfolding or blossoming. It corresponds to the feminine principle, the receptive pole of manifestation, being, and light—thus akin to the symbolism of the chalice. The blossoming of a flower signifies the expansion of manifestation and the irradiation of being and light. This layered significance is especially pertinent in the case of the lotus, which is, in the East, regarded as the most symbolic of flowers. Within the Hindu tradition, the cosmos itself is sometimes represented in the form of a lotus.

The lotus’s distinctive characteristic lies in its growth upon the surface of the waters, with these waters representing a particular ontological level—a specific degree in the order of manifestation. The conjunction of “lotus” and “water” in the Eastern symbolic framework stands in notable correspondence to the Western pairing of “rose” and “spear”—a symbolism associated with the episode of the spear and the blood, from which the red rose is said to have sprung. The underlying reasons for this symbolic parallel will be addressed in subsequent elaborations.

It is also worth emphasizing that the blossoming of the flower takes place concentrically around its center. The number of petals it bears holds a precise symbolic value: a five-petaled flower signifies the microcosm—man; whereas a six-petaled one signifies the macrocosm—the universe. Moreover, the floral symbol corresponds analogically with that of the wheel, the latter being associated with cycles—such as the cycle of life and death, and others. Thus, the lotus, in particular, partakes in this cyclic symbolism and may be understood as a figure of the perpetual rhythm of manifestation.

The Lotus in Ancient Egypt:

In ancient Egypt, the lotus possessed immense symbolic significance and was regarded as a plant highly esteemed by the gods. It functioned as a symbol of Upper Egypt, of the cyclical nature of life, of the sun, and of the solar deity Ra. Ra, the great solar god and one of the principal divinities of the Egyptian tradition, was believed to have emerged from the lotus. In numerous depictions, Ra is shown inhaling the fragrance of a lotus blossom which he holds in his hand—an image that conveys a profound metaphysical meaning.

The lotus was believed to bear an essential analogy to the sun itself, inasmuch as it would open at dawn and close at dusk, thus mimicking the solar cycle—blossoming with the rise of the sun and withdrawing with its descent. This rhythmic opening and closing established the lotus as a natural symbol of manifestation, radiance, and the temporal unfolding of being.

Osiris, another major deity within the Egyptian pantheon and ruler of the underworld, is frequently portrayed crowned with a diadem of lotus blossoms. The association of the lotus with Osiris further reveals its connection with the mysteries of death, regeneration, and the hidden dimension of existence.

Lotus flowers in Ancient Egyptians' hands, Ancient Egyptian papyrus

In Egyptian art, the lotus also symbolizes the newly emerged earth arising from the primordial waters—a cosmogonic image that conveys the hidden genesis of the world, held in sacred silence and veiled by the divine. The lotus thus serves as a vessel for the ineffable mysteries of the gods.

The lotus, or blue water lily, naturally flourished in southern Egypt, while the papyrus plant was predominant in the north. In various surviving artistic representations—particularly in architectural columns and ceremonial vessels—these two plants are often depicted together. For this reason, some scholars have interpreted their conjunction as emblematic of the unification of Upper and Lower Egypt: the lotus representing the south, and the papyrus, the north. Their union, therefore, signifies not merely a political integration but a metaphysical harmony between complementary principles.

The Lotus in Persia(Iran):

In the civilization of Persia—particularly within Achaemenid art—the lotus appears with notable frequency and symbolic prominence. It seemingly served as one of the emblems associated with Mithra (Miθra) and Anahita (Arədvī Sūrā Anāhitā), the goddess of the celestial waters. It appears that the symbolic use of the lotus may have traversed from Egypt into Persia, and thence into the Indian subcontinent.

Some scholars propose that in the iconography of Mithra's birth, the object often interpreted as a pine cone—or at times, a rock—from which Mithra emerges, may in fact be a lotus bud. Such a reading would reframe the symbolism as a manifestation emerging from the floral matrix of being, rather than a rupture from inert matter.

Lotus flower in Persepolis

Within Achaemenid architecture, the lotus is seen held in the hands of kings and nobles, and its form is found ornamenting friezes, column bases, and ceremonial reliefs. The symbolic proliferation of the lotus in Persepolis is particularly striking, where it is repeatedly carved upon walls and on the garments and hands of Median and Persian dignitaries in procession toward the Great King. At the tomb of Cyrus the Great, the lotus also appears carved in stone—further testimony to its metaphysical import. Moreover, this motif is frequently found upon Achaemenid seals, suggesting a widespread symbolic usage across the royal and priestly classes.

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In later epochs, particularly during the Parthian period—an era characterized by a synthesis of Hellenistic and Persian artistic forms—the lotus retained its symbolic vitality. In the art of the Sasanian period, the motif appears again in full force; in the rock relief at Taq-e Bostan, for instance, Mithra is depicted standing upon a great lotus, thus reaffirming the flower’s role as a cosmic support or pedestal for the divine presence.

With the advent of Islam in Persia and the concurrent preference for non-figurative and abstract ornamentation in sacred art, the lotus motif gradually receded, giving way to arabesque patterns (eslimi) more in accordance with the spiritual principles of Islamic aesthetics. By the Safavid era, floral symbolism had evolved into new forms, including the pomegranate blossom and the Gol-e Shah Abbasi, which, though more stylized, retained echoes of the earlier sacred symbolism through their geometric and harmonious expression.

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Within Christian heritage, the Jerusalem Cross is a distinguished emblem that reflects Jesus’ deep connection with the Holy Land and the city of Jerusalem. These crosses are treasured as souvenirs and serve as markers for ancient churches and sacred sites throughout Jerusalem. Many people choose to wear the Jerusalem Cross in the form of jewelry—such as necklaces, pendants, rings, earrings, or bracelets—or display it as a wall ornament in their homes. The Jerusalem Cross pendant is often called a “Pilgrim’s Cross,” worn by travelers and visitors from around the world. It has become a cherished symbol for those who have journeyed to Jerusalem and the Holy Land, as well as for anyone wishing to keep the memory and spirit of these sacred places close to their heart.

Jerusalem cross in the history:

Its origin is believed to be rooted in the time of the Crusaders, during the Crusader Kingdom of Jerusalem ruled the holy city, from 1099 to

1187 AD. According to some historical evidence, Godfrey de Bouillon was the first to use the Jerusalem Cross as a distinct symbol. Godfrey of Bouillon (c.1060–1100) was a Frankish noble and a key leader of the First Crusade. After the bloody capture of Jerusalem in July 1099, he refused the title “King,” calling himself instead “Advocate of the Holy Sepulchre,” believing Christ alone was the city’s true king. He led one of the main assaults during the siege of Jerusalem, directing the troops that first broke through the northern walls—an action crucial to the city’s fall. Godfrey died the following year, and his brother Baldwin I became the first official King of Jerusalem.

This cross became the official coat of arms of the newly founded Latin Kingdom of Jerusalem. It symbolized not only Christian devotion but also the idea of spreading the faith “to the four corners of the world.”

Jerusalem cross on King Baldwin's outfit in the "Kingdom of Heaven" movie.

Following the loss of Jerusalem to Muslim forces in 1187, the cross continued as the heraldic symbol of the titular Kingdom of Jerusalem, claimed by various European monarchs even after the territory was gone. It appeared in European coats of arms and church art for centuries.

In the 14th century, the Franciscan Order, appointed by the Pope as guardians of the Holy Land’s Christian sites (the Custodia Terrae Sanctae), adopted the Jerusalem Cross as their emblem. This reinforced its status as a sign of pilgrimage and guardianship of the holy places.

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What is the meaning of Jerusalem cross?

In the previous posts, I described the meaning of five-part symbolic compositions, and the Jerusalem Cross is connected to this type of symbolism. The Jerusalem Cross features a large, perfectly balanced cross ending in “T”-shaped arms, known as Tau Crosses, which symbolize the Old Testament. Surrounding it are four smaller, equal Greek Crosses, representing the New Testament.

This emblem is most closely associated with Jesus Christ and the mission to carry the gospel to all four corners of the earth. Some interpret the four small crosses as symbols of the four Evangelists—Matthew, Mark, Luke, and John. Others see them as a reminder of Christ’s wounds in his hands and feet, while the central large cross signifies the spear wound in his side inflicted by the Roman soldiers.

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Christograms in Christian tradition are abbreviations that represent Jesus Christ. The use of these abbreviations dates back to early Christianity. Their emergence was heavily influenced by the political atmosphere of the Roman Empire, which was the birthplace and environment in which Christianity emerged and developed. Until the Councils of Milan and Thessalonica in the 4th century AD Christians were frequently subjected to persecution and torture under Roman rule. Due to the constant threat of Roman inquisition, Christians adopted Symbolic ways of referring to the name of Jesus and Christian teachings. Over time, these abbreviations—Christograms—evolved into sacred symbols within Christian tradition.

ICXC:

Beyond the constraints of political necessity, the inherent need of the religion for symbolic and coded language also contributed to the development and spread of these abbreviated symbols.

In the Eastern Church and the context of Eastern Orthodox Christianity, one of the most well-known Christograms is the four-letter abbreviation ICXC. This is a traditional abbreviation of the Greek words for “Jesus Christ,” derived from the first and last letters of ΙΗΣΟΥΣ ΧΡΙΣΤΟΣ, commonly written as ΙΗCΟΥC ΧΡΙCΤΟC.

In religious icons, this Christogram may appear split—“IC” on the left side of the image and “XC” on the right—with a line often drawn above the letters (called a titlos) to indicate the sacredness of the name.

ICXC in Byzantine mosaics of Jesus Christ

Ο ωΝ:

The Greek monogram Ο ωΝ has been highly regarded in the Eastern Church and possesses extensive and profound theological foundations. The phrase Ο ωΝ is directly derived from the Book of Exodus in the Old Testament, where God tells Moses: "I AM WHO I AM."

This monogram is deeply venerated in the Eastern Christian tradition and is widely used in Orthodox iconography, typically inscribed in a triangular form or on three sides of a cross within a halo.

Ο = The Greek definite article ("the")

ωΝ = The present participle form of the verb "to be"

Ο ωΝ literally means: "He Who Is"

Ο ωΝ in Orthodox Iconography

This phrase signifies the oneness of the God of the Old Testament and the God of the New Testament, and the divinity of Jesus Christ.

There is no consensus on the origin of this monogram and where it was first used. Some researchers believe it was first used in the Balkans or Russia (territory of the Eastern Orthodox Church) between the 11th and 13th centuries AD. They suggest it was a response to dualistic, Manichaean, and Gnostic heresies, such as those espoused by the Bogomil sect. Other scholars contend that its widespread use in the halo of Christ in 14th-century Byzantine paintings occurred particularly after the consolidation of Hesychasm (the mysticism of quietude) in the Orthodox Church, and it was used as a symbol of the luminous and mystical theology of this movement.

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Nun is the fourteenth letter of both the Arabic and the Hebrew alphabets and it has the numerical value of 50. It holds however a more particularly significant place in the Arabic alphabet of which it terminates the first half, and the total number of Arabic letters is 28.

Nun letter in Arabic

This letter in Islamic tradition, as representing al-Hut, the whale, and because of that Prohpet Yunus (the prophet Jonah) is called Dhun-Nun (The companion of the whale), the whale in the story of Prophet Yunus, doesn’t only have the meaning ‘fish-saviour ’ but also in the truth, it means the ark or the ship, In fact, Prohpet Yunus captives in the body of the whale, like Noah in the ark, during a period that is for him, and also for the outer world, a period of obscuration and darkness corresponding to the interval between two states or two modalities of existence which, one is finished and another one is beginning. Moreover, Prohpet Yunus’s egression from the the whale has always been regarded as a symbol of resurrection and therefore, the passage to a new state or a new birth.

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The shape on letter “Nun” consists of the lower half of a circumference and a point that is in the center, and the lower half-circumference is also the figure of an ark floating on the waters, and the point within, represents the seed enveloped or contained therein. The central position of this point shows, ‘seed of immortality’ and being safe from all the outward dissolutions. This fact that half-circumference is downward, represents the meaning of the “Matrix” which the not-yet-developed seed is in it and this point or the seed in the letter of “Nun” represents the meaning of the heart in the individuality and that is the ‘seed of immortality’ and the growing or the development of the spiritual seed implies that the being leaves its individual state and the cosmic setting to which it belongs, like Prohpet Yunus’s egression from the body of the whale that causes reviving and the new birth necessarily needs death to the former state, whether it be an individual or a world.

Death and birth or resurrection, are two aspects that are inseparable one from another, Nun in the alphabet immediately follows “Mim”, which has among its principal significations that of death (al-mawt).

Mim letter in Arabic

The symbolism of the whale has not only a benefic aspect, but also a malefic one which, and connected to both of death and birth, like the role of the whale in the story of Prohpet Yunus.

In the book of Meccan revelations from Ibn Arabi which is an important book about the science of letters, there is a word “Bas’et” of letters which means the components of letters and Ibn Arabi has used this word.

Components of the shapes of letters which is about the outer view of them and the letter “Nun”, is a combination of letters “Ra” = ر and “Za” (ز). It seems that Ibn Arabi has used some knowledge’s about calligraphy and we can understand it from his books. Ibn Arabi considers the nature of “Nun” to be cold and dry and knows earth as the element of “Nun” and these knowledge’s are connected with Alchemy and the old astronomy.  The important point in researching about the shapes of letters from their outer view, is that maybe the opinions of Ibn Arabi about the outer view of letters, like what he has said about them like a letter is the result of combination of two other letters, have spiritual and mystic manifestation that shows the resulted letter has the power of two letters which made the resulted letter.

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In Islamic terminology, dhikr(Zikr) refers to the repetition or saying specific words or phrases which are usually from the Quran, hadiths, or the Names of God, with the aim of becoming closer to God, seeking His help and forgiveness, and strengthening the faith or acquiring the attributes of those names of God. This practice is one of the most important acts of worship in Islam and is emphasized in all Islamic sects.

Dhikr Yunusiyeh is actually a prayer that Prophet Yunus (Prophet Jonah) was repeating for God's help in a very difficult situation when he was in the belly of the whale. This dhikr is found in the Holy Quran, (Surah Anbiyyah, verse 87), and it’s meaning is: There is no god except You, you are pure and glorious, indeed I was from wrongdoers.

In Surah Saffat (verses: 43,44) is mentioned about Prophet Yunus: If had he not been one of those who glorify God (probably this praying was dhikr Yunusiyeh), He would certainly have remained inside the Fish till the Day of Resurrection.

Dhikr Yunesiyeh in square Kufic script ring in Ildirimjewelry store: https://www.ildirimjewelry.com/dhikr-yunesiyeh-square-kufic-ring

Islamic ethics and mysticism scholars strongly emphasize the repeating this dhikr, especially during prostration.

The most important and common benefits of saying and repeating Dhikr Yunusiyeh are:

Purify the spirit and aiding in attaching angelic stations

Getting calmness,

Increasing hope,

Disappearing and reducing sadness and sorrow and…

Imam Sadiq (pbuh), the 6^th Imam of Shias, has said, "I am amazed at someone who is sorrowful and yet does not say this dhikr: There is no god except You, you are pure and glorious, indeed I was from wrongdoers.', because God says afterwards in Quran: 'So We answered his praying and brought him out from Abyss of sorrow. And thus We save the believers (Surah Anbiyah, verse 87)".

By Ildirimjewelry

The Helm of Awe is a runic symbol and spell, and they were carved or painted onto objects for them to take effect. These objects could be pillars, pieces of bark, bones, dirt, or even parts of the body.

These symbols can be found on Runestones and other memorials of Viking age but there is nothing in Viking age explains them and they didn’t express them. The Runes never really used for literature and there isn’t any poem that is written with Runes and there are only some inscriptions and short sentences which are written with Runes.

We have not so much information to realize what was actually the meanings of these Norse symbols even we can’t understand the meanings completely by searching the history and the context of Vikings’ culture. There is a way that maybe can help us to understand the meanings of these Norse symbols and it’s comparing these Norse symbols with other similar symbols which used in other traditions because actually the symbols are universal language and usually the similar symbols in different traditions have same meanings like the same meaning of numbers in different traditions (Like the way that has used in the researches about the symbol of bond and knots).

Helm of Awe is the Symbol of protection strength and courage and it has been used to strike fear into the enemy and the warriors painted this symbol on their forehead and between the eyebrows (inked the forehead) before going to the battle. According to Icelandic folktales by Jon Armasoin in nineteen century the symbol could be made from lead and pressed into the space between the eyebrows and the user would then recite the formula:

I bear the helm of awe between my brows!

Also there are some sources and manuscripts around 1500-1600 AD in Iceland that prove these tips which also show joined Christian and Nordic Pagan elements.

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This symbol which is the loops and spiral and unbroken lines and their connections, is known as an important symbol in different traditions, especially in the traditions in Europe continent. We can see the usage of this symbol in Europe, in Celtic art which can be found from Anatolia to Ireland, Northern European tribes and peoples (like Vikings) art and and the art of Celtic Christianity or Irish Christianity that was in the north of Britain till the 11th century.

The Source of this fig: https://www.istockphoto.com/de/foto/keltisches-cross-gm182877807-13518856

These lines, which are equal to the thread, may double back on themselves so as to form intertwining or knots or entanglements, each of these knots represents the point of operation of the forces that determine the condensation and the cohesion of an ‘aggregate’ corresponding to this or that state of manifestation, so that it could be said that it is this knot which maintains the being in the state in question, and that its ‘undoing’ immediately brings about the being’s death to that state. This is what a term such as ‘vital knot’ expresses very clearly.

These bonds and knots have different meanings at the same time and the knots relating to different states are represented all at once and permanently in the symbolic drawing and none of them violates or opposes the other meaning, and this is one of the characteristics or qualities of the symbols that have multiple meanings at the same time. One of the meanings of these lines and knots is which makes of the bond a fetter or shackle, it is because this is the viewpoint of the manifested being because of it is manifested and as such insofar as he considers himself as ‘attached’ to certain special conditions of existence and as enclosed by them within the limits of his contingent state and hence the meaning of the knot is generally seen as a reinforcement of that of the bond and the knot represents still more precisely that which fixes the being in a determined state, and it can be said that, the portion of the bond by which the knot is formed is, is the only thing that the being can see of the bond so long as he incapable of extricating himself from the limits of this state, and the connection that this bond and thread establishes with other states is necessarily hidden from it's view.

A bond can be conceived as that which fetters or as that which unites, and even in ordinary language the word has both these meanings. a being, according to his spiritual degree, can evaluate the state in which he happens to be. the word ‘attachment’. In fact, if one experiences attachment for someone or something, one naturally considers it an evil or ominous to be separated from it in any case, even if in reality this separation must entail the emancipation from certain limitations in which one finds oneself in virtue of this very attachment. More generally, the attachment of a being to his state, at the same time that it prevents him from freeing himself from the fetters that are inherent in this state, makes him consider it a misfortune to leave it or in other terms, it makes him attribute a ‘malefic’ character to death to this state, death resulting from the rupture of the ‘vital knot’ and the dissolution of the aggregate that constitutes his individuality. Only the being who has enough spiritual development to enable him to aspire, on the contrary, to a passage beyond the conditions of his state can realize these conditions as the fetters or shackles that in fact they are. Thus the ‘detachment’ that he henceforth experiences with regard to them is already, at least virtually, a rupture of these fetters, or, to put it differently and perhaps more exactly, for there is never a rupture in the strict sense of the word, a transmutation of that which fetters into that which unites, which is based on recognizing or becoming aware of the line that leads to the principle.

The source of this fig: https://www.istockphoto.com/de/foto/alte-stein-geschnitzten-celtic-design-symbol-keltischer-knoten-gm995458848-269444613?searchscope=image%2Cfilm

In ritual and more particularly magical applications, according to the situation, the auspicious (benefic) or ominous (malefic) intention and usage of knots and bonds is corresponding to the dualism view and double meaning of bonds and knots. Although these interpretations that know these symbols just magical are insufficient and sb because of lack of complete awareness and total failure to understand the profound significance and the meaning of symbols, settles for these interpretations and these interpretations and failure are like sociological interpretations, inverse the relationship between the principle and it's contingent applications.

In another meaning, these lines also unite the multiple states and all levels of existence among themselves and also their principle and origin, and in this case they are far from being fetters, and they are sth which the being can actually rejoin his Principle by themselves, so those threads will have axial value and represent the process of returning to the principle.

These  lines which both from the macrocosmic and from the microcosmic (all the universe and beings expect humans) and the Microcosm (Microcosm is a sampling of the Macrocosm, and therefore, whoever knows the human truly, that is, Microcosm, then he knows the whole world or Macrocosm and the different levels of the human or Microcosm correspond to the different levels of the world or Macrocosm and the famous slogan of the believers in Microcosm-macrocosm analogy is that: "As in the sky, so on the earth") point of view  links all the states of existence one to another and to their Principle, and this is a path along which the being has to go from one end to the other in order to reach his goal.

When the different knots that are related to different states of existence are all seen and represented all at once, simultaneously and permanently in the symbolic pattern, is related to the idea that all states are considered simultaneously and these lines are the forces that determine the entire structure of the universe.

These spiral lines, endless loops and knots devoid of a clear start or finish represent eternity, mirroring the cyclical nature of seasons, solar cycle, life, death and rebirth.

In the other usages of these knots and loops, these lines are connected with love, frameworks and maze.

By Ildirim Jewelry