مجله کاشان شناسی
سال ششم شماره 1 (پیاپی 10، بهار و تابستان 1392)

In the eleventh century of Hijrah، Mohsen Feyz Kāshāni employed significant narrative exegeses of Shia to create a valuable work، entitled Safi Commentary. The current article is an illustration of the approach applied by Feyz Kāshāni in Sāfi Commentary. Besides، the study seeks to discuss about the way Imams’ narratives were employed to interpret versus of the Holy Quran in this exegesis. The results indicate that although this book is a kind of narrative commentary، Feyz used a mixed approach composed of both narrative and wisdom. The findings emphasize that Feyz، as a modern scholar in Akhbari School of thought، apply narrative-ijtahadi approach. The study utilized library research method and followed three steps of description، investigation and explanation.

Wisdom and mysticism are assumed to be the base and underpinning of Islamic societies’ life، culture and religion. The 7th century of Hijrah (13th AD) is considered to be the golden age of mysticism. Such Mystics of this period as Ibn Arabi، Sadr al-Din Ghonavi، Jalal al-Din Mohammad Balkhi (Molavi)، Najm al-Din Kubrā significantly affedect the Islamic countries. Afzal al-Din Mohammad Maraghi Kāshāni is one of the virtuous mystics and philosophers of this era. As few researchers studied his works and thoughts، he was unknown to most of the Iranians just like a precious gem، buried under the earth. This study presents an overview of works and background of Bābā Afzal. Then، the philosophical، mystical، and moral concepts of his quatrains are clarified. Employing simple method of his prose and previous poets’ tone، Afzal al-Din conveyed mottos، precepts، and mystic truths in his poems. He warns readers about instability of the world and invites them to avoid it. It is worth mentioning that، the present article studied those quatrains which are recorded under the name of Afzal al-Din Kāshāni.

The present study is an attempt to introduce works of Abu al-Hasan Nur al-Varā، an unknown calligrapher in Safavid period، and those of his son. The first section presents a background of their family and arguments of those books which point to Abu al-Hasan and his works. Then، there can be found an introduction of three calligraphy produced by Abu al-Hasan in 1032، 1042، and 1077 Hijri. The first work is a tombstone located in Ārān & Bidgol. The second one is an exquisite door in Nush Ābād and the third is his book named Jame al-Ghesas. The second section of the study includes some information about the door of the mosque of Hajj Abdul-Samad Bidgol and its’ calligraphies which are produced by Nur al-Vari، the son of Abu al-Hasan. In addition to clarifying some ambiguities about this door، the study tries to present an overview of works of some other calligraphies of this family.

Mirza Mohammad HosseinGhaffāri Kāshāni، whose pen name is Mashreghi is a poet. He is one of the mystic poets of literary period (thirteenth century) that none of the literature has not even mentioned his biography of his Court has not been published yet. The same issues have prompted the author. This paper introduces the poet and his poem''s style. With a little reflection it can be realized Ghaffari who also like other contemporary poets is follower of Khorāsāni style and Iraqi، His tendency to lexical and grammatical features reminding Khorāsāni style، However، the characteristics of literary and lyrical themes shifted his attention to Iraqi style، As the Iraqi poets Hāfez further plans and borrowed some of his lyrical themes. Ghaffāri use the poetry as a means to express ideas and feelings do not occur. Unlike his contemporaries، poets followed his pontificate and show off with brilliant and complicated words، but he choose the pattern ofpoetry to reflect the mystic thoughts. His language is simple and eloquent، and more similies is phenomena، the use of archaic words and Arabic words، and turning abundant compounds، adapted from the Quranic verses and the use of particular literary pun array of saleint stylistic features of him.

Sabāhi Bidgoli is considered to be one of the famous pioneers and poets of literary return period. Among poets of this style، Bidgoli appears to have a high status. He illustrated his abilities by composing such various kinds of poems as Ghazal، Qasida، Masnavi، etc. The works indicate that he was an efficient poet in different poetic forms. While Sabāhi attends to Hāfez in his elegant Ghazals، he follows great poets in fifth and sixth century when composing his Qasidas. Applying various tupes of figures of speech and literary techniques، he seems to be able to produce more beautiful، effective and delicate poems so that his contemporary readers and poets along with subsequent researchers admired some of his poems. The current study sought to analyze literary and artistic aspects of Sabāhi’s poems. The study also attempts to show his abilities and knowledge about figures of speech beside the literary and spiritual values of his poems. Sabhāi appears to mostly employ simile among figures of speech، pun among Formal rhetoric devices and allusion among logical rhetoric tools. Another characteristic of his poem، pointed in the present article، is producing novel compounds of words and artistic use of them. Overall، it can be said that Sabahi mostly employed typical figures of Khorsani Style. It may be assumed that some figures of Araghi or Hindi style such as paradox، allegory، cannot be found in Sabahi’s poems.

In Islamic periods، many variations and differences in the art of pottery are found. Sometimes these variations are connected to such other arts as literature، painting، and calligraphy. There were also some situations in which the condition of the pottery wares such as its’ form and technique may cause these variations. This study considers the significance of poetry and its’ effect on the variations of the art of pottery such as making the environment poetic and conveying romantic، epic، and mystical themes. The paper attempts to investigate the relations between poetry and Kāshān’s pottery techniques in Islamic period. To this end، field study method and library are employed.

Abu al-Rezā Rāvandi is one of the significant scholars of Shia in the sixth century of Hijrah. His poetry divān remainsas a remembrance of Arabic literature in Saljughi period. In his Divān، Ravandi depicts social and cultural situation of Kāshān such as invasion of Saljughiān to kāshān، introduction of elites of this city، and their public charities. One of the topics studied in Ravandi’s Divan seems to be Rhetorical and poetic objectives. Considering poetic objectives، this Divan mostly attends to eulogy، salutation، elegy، apology، complaint، advice، prayer، motto، and puzzle. This Divān is found to be very significant regarding rhetorical aspect of poem such as adoption، allusion، abstraction، paradox، exaggeration، pun، metaphor،and allegory. The results indicate that although Rāvandi seems to have no specific style in Arabic poem، his ability in composing Arabic poems، expressing beliefs of Shia، and attending to social life of Kāshān in Saljughi period caused his Divān to be a novel work.