فصلنامه الهیات هنر
پیاپی 21 (بهار و تابستان 1401)

Mikayilzadeh is one of the few contemporary artists of the Republic of Azerbaijan who uses religious themes and mystical texts in his works. The main feature of his works is dealing with religious issues, which can be seen in his paintings and carpet designs. However, his works are not limited to Islamic subjects. In some cases, the history and characters of other religions have also appeared in his works. In painting, he was a student of Behloulzadeh, an Azerbaijanied landscape artist. And he graduated in the field of carpet designing at the Azerbaijan State Academy of Fine Art under the supervision of professors such as Karimov and Majiri Tabrizi.In order to examine one of his pictorial carpets on the subject of the history of the Abrahamic religions, this study tries to consider his thoughts, artistic expression and the process of using visual symbols in designing carpet. Therefore, this paper with paying attention to Mikayilzadeh's personal life and works, analyses this pictorial carpet based on Panofsky's iconology. The necessary information have been obtained through library and interview with the artist. The results show that Eldar has used several visual symbols to express his purpose. Symbols such as the cypress, the palm, the azure, the animal symbol such as the camel, as well as the selection of scenes from the lives of the prophets that have also symbolic expressions. The artist's acquaintance with the School of Safavid painting in Tabriz has the influence on both content and composition of his works.

Eslimi element is considered the first among the most applicable seven elements of the Iranian traditional art motifs whose application refers to the earlier centuries of Islam. However, the use history of the word Eslimi –also registered as Islami– dates utmost to 830 Hijri and is used only in Persian texts. So far, a lot of research is done on Eslimi, and various and contradictory theories are proposed on its background and origin. The point is that no comprehensive research has been done yet to consider and contrast the issues about the Eslimi element in “historical texts” and “research of the last century”, and their relationship is overlooked; Identifying that relationship is significantly important in Iranian-Islamic art. The present qualitative research which uses a descriptive analytical method and is based on library studies is evaluating the related references to extract their important data about Eslimi and to highlight their similarities and differences through comparative studies. Findings show that the last century researchers with non-Iranian pioneers have not paid much attention to Persian “historical texts” and they boast more differences than similarities. Although the formation of traditionalists’ ideology and its attention to “Eternal Wisdom” has reduced the severity of differences, our understanding of Eslimi –referenced as a religious and ethical motif– is incomplete and based merely on the western studies.

The literature of every country stores and carries a treasure of beliefs and beliefs of that land. Belief in the appearance of the savior Mosleh at the end of the era of Aqeedah is a belief that can be observed and followed in the texts and writings of poets and composers of literary works. The emergence of the Islamic revolution in Iran made a series of beliefs clear and rich. One of these beliefs is the belief in the appearance of a savior and specifically Hazrat Hojjat wa Qaim al-Abbas. In this research, we are criticizing contemporary poetry texts of the revolution (before and after the revolution) and the extent of reflection of these themes in such works. The results obtained from the investigations are that the more the revolutionary passion and desire for freedom and resistance and stability among Iranians have become stronger, the more frequent the words related to the savior and the promised one become. In this research, by referring to the works of contemporary poets, searching for Mahdavi keywords in them has been done. This research, which is of the type of content analysis and descriptive analysis, collected the required information and data using a library method and randomly selected and reviewed the collection of poems of contemporary poets (after the constitutional revolution).

The difference in approaches among cinema authorities in the realm of multimedia services, particularly in the processes of granting licenses and monitoring the non-governmental sector within the audiovisual domain, including the Video on Demand system (VOD), has a lengthy history in Iran. Nonetheless, the delineation of duties, organizational structures, laws, and regulations reveals that legal authority for monitoring the digital distribution of television content is vested in the Ministry of Culture and Islamic Guidance. Additionally, the Islamic Republic of Iran Broadcasting and the Ministry of Communications and Information Technology both assert themselves as the primary responsible organizations for issuing licenses and monitoring activities pertaining to Streaming Television products, encompassing the digital distribution of television content, streaming television, and more. Remarkably, it becomes evident that all three organizations, despite international precedents and even recognized legal standards, advocate for the implementation of a regulatory system that does not align with legal principles, the essence of art-media activities, the nature of the digital space, and its rapid evolutions. The continued pursuit of this approach, particularly in the context of the digital distribution of television content, could create significant obstacles to the advancement of this field. Furthermore, it has the potentiality to infringe upon the fundamental rights of citizens and hinder the establishment of an effective and efficient regulatory framework. Thus, this research seeks to examine the legal arguments presented by the concerned parties, analyze the existing laws and regulations, scrutinize interpretations by legal institutions, and, based on legal principles and theories, consider international standards and the approaches adopted by specific countries. The ultimate aim is to identify the most suitable authority for overseeing digital audiovisual contents and to deliberate on the constraints associated with such authority's oversight.

Some movies may contain legal teachings relevant to citizens and provide valuable legal knowledge for research scholars. Among the topics explored in certain American legal-crime genre films is the concept of plea bargaining. This agreement initially originated in the United States and has been adopted by many countries with common law systems and some countries with civil law systems. Examining the essence, fundamentals, and the process of utilizing the plea bargaining within the American common law system through visual scenes portrayed in American movies can lead to a comprehensive understanding of the strengths and weaknesses associated with this agreement. A closer observation and analysis of movies such as 'A Few Good Men,' 'The Lincoln Lawyer,' and 'The Judge' reveal that plea bargaining represents a contractual agreement between the prosecuting authority, acting on behalf of the government, and the defense attorney, representing the accused. This agreement entails that the defendant will plead guilty to the criminal charge in return for a more lenient sentence. The origins of plea bargaining can be traced back to considerations like the sufficiency of the presented evidence to support the charges and the pursuit of economic efficiency. Plea bargaining typically occurs after the investigation, the formal charging of the accused, and prior to the commencement of the trial. Studying the advantages and disadvantages of plea bargaining, as well as considering its adaptation within the Iranian legal system, could be of interest to criminal law scholars and lawmakers, given the existence of similar concepts such as Nolle prosequi and defendant cooperation with the judicial authorities in exchange for reduced penalties in Iran.

The TV series 'Squid Game' takes an east to west perspective in an effort to clarify certain concepts that lawyers encounter, particularly criticism of the capitalist system. This type of criticism is not a new phenomenon, as many critical written works and plays have emerged in response to the global establishment of this system. However, two specific aspects within the realm of public law make this subject more intriguing. Firstly, fundamental criticism has emerged within the framework of the same capitalist system and is being presented on a global scale. This practice is uncommon among the ideologies of the 21st century, highlighting the importance of tolerance and engagement with critics and opponents. Secondly, the social contract, considered a sacred concept that forms the foundation of the modern political and legal system, has been challenged. Specifically, within the various stages of the 'Squid Game', it becomes clear that a social contract, even when formally agreed upon with consent and free will, does not necessarily guarantee any ethical or socially just content. Citizens must consciously consider the conceptual choices that encompass human rights and public liberties when accepting the social contract. It is evident that this approach will face existential and practical challenges in the future. However, the significance of defining the content to advance social justice by citizens during the acceptance of the social contract remains undiminished.

Cinema serves as a tool for expressing social concepts within a framework of semantic structures that can be unveiled, comprehended, and interpreted through various qualitative analysis techniques employing its elements. The connection between the semantic structure of a film and its social background infuses it with artistic depth, encompassing political, legal, and ethical dimensions, thus making it a subject for analysis and comprehension of social conditions. This study aims to examine the film 'A Hero' directed by Asghar Farhadi, which is widely recognized as an exemplary social drama addressing issues relevant to the lower classes, employing the method of content analysis. Through an exploration of the portrayal of concepts, symbols, and semantic structures that convey political, legal, and moral meanings via content analysis, the findings reveal that 'A Hero' revolves around key themes such as "theatrical show of morality," "commercialization of morality," "social pressure in defining moral roles," "political authority, rebellion, resistance, and submission," "children and societal acceptance," and ultimately "women and love." The central message conveyed by this work is the sacrifice of ethical values within a context of suppressed freedoms and socio-political deprivation.

'Squid Game' is a globally renowned TV series, depicting a competition among 456 players who engage in six seemingly straightforward yet perilous games. Ultimately, one emerges as the victor, claiming the grand prize. The significance of this game lies in the fact that the other players lose their lives during the process of these six games. This constant struggle between life and death prompts the players to provide a sincere narrative of human competition, primarily reminiscent of human behavior in the state of nature. The unfolding of the story in the series aligns more closely with Thomas Hobbes's depiction of the state of nature rather than John Locke's optimistic view of human nature. Consequently, one can observe the influence of information asymmetry in the social contract and the role of ignorance and unawareness among the players in these games.

During the second Pahlavi era, the cinema industry in Iran adopted a distinct approach to regulation and control, guided by cultural policies deeply rooted in their perception of Iranian culture. This approach utilized legal mechanisms that were under the influence of political power. The government's cultural policies during this period were aimed at shaping the cinema of that time, exerting influence over public culture in alignment with their own ideals. Thus, this research aims to identify the legal tools employed by the government during the second Pahlavi era to implement and adapt these policies. The research hypothesis posits that the political power at that time exerted a specific direction on cinema, extensively utilizing censorship and various forms of surveillance in the films produced during that era. The research methodology employed is descriptive-analytical, and data collection relies on documentary and library sources. By examining the policies and cultural rights of that era, it is suggested that the government sought to guide the cultural lifestyle of the population through both positive and negative monitoring methods, utilizing legal instruments that were under the control of their cultural policies.

New spiritual movements express the movement from abstract spirituality towards subjects that have gradually found a metaphysical form. Art, with the help of the media, is representative and influenced by the world thought, which presents the meanings and possible ways of looking at morality and spirituality. Cinema, as a media consisting of various scientific and artistic paradigms, and as a source with special capabilities in producing effective content and representing complex concepts, has displayed human concerns regarding the world, God, and human relationships on its screen. This research tries to represent the supernatural signs of trans-modernism paradigm in the movie "Thor" by Kenneth Branagh. In order to identify and formulate the supernatural concepts and presuppositions of the trans-modern paradigm, the descriptive-analytical method has been used. The discourse analysis of the story elements, based on Fairclough's critical discourse analysis theory with the PDAM approach, has been carried out on three levels: description, interpretation and explanation. The method of conducting this research is descriptive-analytical, and by analyzing selected parts of the film, the writer came to the conclusion that discourse styles such as the savior and the future, direct the attention of the audience to the decoding of metaphysical topics, and this component is considered to be the basis of future developments. slow The findings of the research indicate the emergence of a new future for mankind in the third millennium with the approach of the modern trans paradigm and its impact on Hollywood cinema.

The poetry of this enchantment is one of the most effective and expressive ways of conveying inner feelings and intentions to others. This outstanding verbal art has been noticed in most social contexts due to its double influence compared to ordinary words; Among these fields is the poet's expression of his love for his lover, and in order to convey this feeling, he composes "simile" and describes the beauty of his lover and his extreme love for her. He tells him.Imamiyyah jurists, although they consider poetry to be legitimate in a partial way, but on the other hand, they consider the composition of poems such as "simile" to be illegitimate due to its immoral and corruptive content, and with the approval of the Shari'i and moral texts and with Taking the sensitivity of the issue, inferring its verdict and valuable opinions that if this type of poetry is placed under one of the titles and instances of haram such as prostitution, denigration or harassment and insulting the dignity of women, etc., citing They have stated that it is forbidden with rational and narrative arguments.

Existence and role, (Surah Noor, verse 35, "Allah is the light of the heavens and the earth"), God is the light of the heavens and the earth. The manifestation of God's presence in Islamic architecture and religious spaces is light. The surrounding of light is that which includes itself and others. Light actually illuminates others as well. Light is something that is apparent by its essence. It also appears.In this research, he examines the judgment of the Noor verse in the Quranic inscriptions, taken from the Quranic verses. Light is always the manifestation of God, which has been used in Islamic architecture as a valuable example. In the research method, the interpretation approach and the text analysis method have been used in understanding the verses of the Qur'an. In Quranic teachings, light is the expression of God's manifestation and the creation of a spiritual atmosphere, the symbolic role of that revelation, and being guided to pure light and illumination. The function of sacred art in general is to be a carrier for the divine presence, and the result of the Muslim artist imagines this function as the presence but also as the release of the mysterious whole. It is not just some kind of glimmer of light from another world.