This work deals with the formation of cultural and national identity through the creation of myth and how this mythology is connected to the creation of power. The main figures in the paintings are loosely based on Iranian historical archetypes of kings, queens and magi with imagery pulled from all eras of history dating back to the Iranian peoples pastoral nomadic origins.The figures in the paintings are masked, anonymous and often hollow. Serving less as living beings and more as architecture to prop up a narrative of identity, nationality and power. These archetypal figures contain within them vignettes that relate to more specific ancient and recent historical events in Iran, specifically the constitutional revolution of 1951 and the CIA backed coup of 1953. In this way all modernity is tied up or embedded in the mythology of the past while simultaneously becoming part of that mythology. There is also an attempt to come to grips with Asad's own familial history, broken and fractured by the political and religious upheaval of 1979.

The central priestess figure holds a bust of Darius the Great in one hand while cradling pure water in the other. She also contains in her body a miniature of Muhammad being transported on a mythical creature surrounded by angels. On the left a king figure holds the holy fire of Zoroastrian ritual in one hand and a bust of Ardashir I in the other. He also contains within his body vignettes/miniatures related to the events of 1951-53. The queen figure at right holds a statuette of Anahita. At bottom is a Simurgh and a bowl containing the pure water.