Considering the nature of a man, we can see a type of movement in his body in his excessive happiness. The primitives who used to live in the caves in his excessive happiness and exultance has moved, jumped and turned his body. The primitives, whether the hunters or the farmers, considering their needs, the richness of the land which they were living in or the good hunting which they were having, became so much happy that they were holding each other’s hands and unconsciously were dancing, jumping and moving round the thing that they had obtained.According to most of the anthropologists, the thing that today we consider it as a kind of entertainment was once taken as a serious matter for the primitives. In fact the reason that they were dancing was not just the entertainment but they wanted to suggest the nature and the god he fruitful things and wanted to order the land to have rich crops and make the nature to have a magnetic sleep by their dancing.Tracing the signs of the older and ancient time gives us some examples of the type of dancing in fair, three or group and the individual dancing that historically was important. Most of the items such as pots, seals, etc were decorated with dancing figures. Dancing motif as one of the most powerful symbols in the evolution of human societies can be considered. Dancing is the oldest and one of the most persistent themes in Near Eastern prehistoric art, and this theme spreads with agriculture into surrounding regions of the Levant, Mesopotamia, Iran, Anatolia, the Balkans, Greece, the Danube basin, and Egypt. Dancing appears now in every form of human organization: urban, rural, pastoral, or hunter-gatherer communities (Cohen 1998). Human figures painted on the pottery of the chalcolithic cultures were highly decorative, impressionistic, stylized and enormously symbolic. One of the most attractive and aesthetically pleasing set of motifs on the chalcolithic pottery ware is the numerous dancing figures. More than any other motif they give pure joy and good feeling and provide incense into their social and religion beliefs (Rounaghy & Shinde 2007). This paper, is based on the comparative study on the Iranian painted dancing figures and Indian painted dancing figures on the potteries as indicator of early agricultural ritual.