Simurq is one of the most frequent motifs of ancient times on various works and buildings that has a mythological basis and is related to political and religious concepts. This study aims to recognize and investigate the political and ritual role of Simurq on Sassanid fabrics. To understand the meaning of this ancient myth, we need symbolic components that have a special meaning in ancient cultures and were a representation of mythological beliefs. The research method is descriptive-analytical and based on the iconology approach. According to Erwin Panofsky’s views and in order for finding the content and semantic meaning of the role of Simurq on fabrics,vessel, Various arts, this study attempts to read the image and the three levels in the text of the work of art. The results of the study indicate that the role of Simurq originates from the culture and religion of the people of Iran and has a prominent role. As a symbol of unity between various arts and spiritual powers, this bird was illustrated in the form of a creature combined of real animal organs such as the dog’s head, horse’s neck and chest, eagle’s wings, lion’s legs and peacock’s tail in the Sassanid period. In fact, the role of Simurq in the various arts of the Sassanid king is a manifestation of God’s support for him and his political and religious legitimacy accordingly; as he is endowed with glory, supported with wide open wings and empowered by the Simurq. In the Islamic era, Simorgh in Persian artistic and mystical works; Visually and formally, it is similar to the Chinese Simorgh, in terms of mythology, it is similar to the Avestan and Banu Egyptian Simorgh, a symbol of the sun, and mystically, it is a symbol of light and truth.Iconology, Simorgh, Ancient Persia, Ancient China, Ancient Egypt.