Parviz Tanavali is a pioneering artist in the field of modern Iranian sculpture and one of the founders of the Saqqakhaneh school or movement. Each member of the Saqqakhaneh movement chose visual elements based on their individual beliefs and tastes, establishing new foundations and expanding them. However, the commonality of thought among the works of artists in this group is the use of historical symbols, popular beliefs, and elements used in traditional art and ritual culture in Iran. The trend of originalism and attention to Iranian national identity, which is considered a dominant discourse in society during this period, also influenced the artists, leading each of them to pay attention to specific aspects of the culture, art, and history of Iran. In addition to containing themes drawn from Iranian folk culture, art, and the country’s historical and literary past, Parviz Tanavoli’s sculptures are intertwined with his personal interests, nostalgias, and ideas, which also reveal parts of his identity. Therefore, by examining the themes and subjects of his works, one can discern the layers of identity and the identity-forming elements within them. The purpose of this article is to explain the identity-building components and elements in Parviz Tanavoli's sculptures in order to show how identity is represented in his works in order to answer the following questions: What factors influenced the formation of identity in Tanavoli's sculptures? What components and elements did Parviz Tanavoli use to express identity in his works? The present article examines and analyzes the works in a historical-interpretive manner and with library information. In this research, the search for identity in the works of Parviz Tanavoli was conducted to examine the social and cultural atmosphere prevailing during the Pahlavi period. During the Pahlavi period, the creation of a modern nation-state was the goal of the government, and cultural policies were also shaped in line with nationalism. Then, under the influence of modernist currents and global movements, intellectual discussions were more focused on originalism and returning to oneself, which ultimately aligned the cultural policies of the government to achieve national unity. Government support for art was aligned with political currents and pursued specific goals consistent with the idea of authentic Iranian culture and identity. This led to a form of modernism that drew on indigenous and Iranian elements, of which the formation of the Saqqakhaneh movement was a part. The Saqqakhaneh movement can be regarded as the most prominent discourse concerning the concept of nationality combined with Iranian authenticity. Concurrent with the emergence of the Saqqakhaneh movement, postmodern tendencies as well as the Pop Art and Op Art movements were developing in Europe and the United States, influencing many artists of that period. Tanavoli creates his first sculptures using works from the civilizations of Lorestan, Ziviyeh, or Amlash. Although these elements are less well-known and do not represent Iranian identity in a tangible way, they are derived from ancient Iranian history, which Tanavoli presents as part of Iran's historical identity. Tanavoli, in creating his works with any material and inspired by various styles and artists, seeks to convey Iranian identity through the presentation of Iranian and Eastern themes. In such an environment, Tanavoli establishes a link between the modern and the traditional, the Iranian and the Islamic, with his sculptures, which allows him to compete with other contemporary artists in the world and be present on the international art scene. Tanavoli is actually influenced by the different periods of his social life, his relationship with personalities, groups, and cultural institutions, as well as the artistic trends of that period and the cultural, political, and social atmosphere of Iran, which calls for a kind of nationalism and originalism and the formation of national art. And considering the type of his poetic thoughts and personal interests that reflect his individual identity, he strives to create works with an Iranian and Islamic identity by choosing topics, themes, and some cultural elements. Having a concern for Iranian and national identity and a way of looking at traditional society, as well as personal interest, Tanavoli caused the themes and titles in his sculptures to include three identity components. Themes expressing Iran's historical past (Farhad, Shirin, the walls of Iran, etc.), themes derived from literature, philosophy, and poetry (Hich, Poet, Cage, etc.), and elements inspired by the popular culture and Shiite rituals of the Iranian people (hand, lock, lattice window, etc.), which can be considered as Iranian national identity. These elements are in fact all the codes that Tanavoli, in addition to giving his works a unique meaning and identity, has presented to the art world as part of Iranian art and identity in a way that can be considered a distinctive feature of Tanavoli's sculptures in their themes and subjects. Iranian identity, which can be defined as a sense of attachment and belonging to the land, history, and culture of Iran, and identifying oneself with others and distinguishing oneself from them, is clearly reflected in the subjects of Tanavoli's sculptures. In general, it can be said that Tanavoli's works have an Iranian, Islamic, and global identity. As an Iranian modernist artist, Tanavoli globalizes his works with the stamp of Iranian identity by utilizing historical, literary, cultural, and ritual themes related to Iran. In addition to what has been mentioned, most of Tanavoli's sculptures can be considered an identity commodity. With his works, Tanavoli achieves an identity that is only possible through the creation of works of art.