The art of the Parthian period is important for several reasons: it is directly linked to the art of the Achaemenid period, and then to Seleucid and Greek art, and is worthy of attention in studies of the history of art. Parthian art had diverse modes of expression, and was preserved on substrates such as stones, coins, pottery, etc., and in addition to the mode of expression, it is also noteworthy in terms of diversity and presentation, and it reflects a profound worldview in form and content.
In Parthian art, especially the volumes carved on the bed of mountains, the human figures, statues and statues of this historical period, two factors of facial expression and the way of looking at people are noteworthy and indicate the depth of this art. The meaning of the face goes beyond the appearance and becomes a transcendent, other-seeking, human and even social meaning, and the function and meaning of the gaze also fluctuates and flows from a transcendent expression that is the way of looking at "I" to "He" to the personal way of "I"/"You".
To analyze the meaning produced by the face and gaze in Parthian sculptures, we need a method that examines and deals with meaning in a coherent and systematic way. Based on Parthian sculptures and with the help of the semiotics of the Paris School, we will try to analyze the face and gaze in Parthian sculptures and systematically examine and study these two semantic components.