وحید عابدین پور

Considering that ancestral tourism is one of the emerging sectors of tourism in Iran, it is necessary as initial steps to understand what factors attract ancestral tourists to visit their homeland or their ancestors’ land and what places have more appeal to them during this journey. Therefore, this research aimed to identify the factors influencing the motivation of ancestral tourists to travel to their ancestors’ land and their desired places.

Design/methodology/approach:

 The required data for this research was collected qualitatively through interviews with experts in ancestral tourism, cultural tourism, history professors, and cultural guides who had experience in organizing tours related to ancestral tourism. It is worth mentioning that the research sampling method was snowball sampling, and ultimately, the results obtained from 17 interviews were analyzed using the content analysis method with the help of MAXQDA software.

Familiarity with ancestors’ background, establishing and maintaining a connection with the past, economic interests, attractions of the ancestral land, showing respect, reminiscing the past, feeling of belonging to the ancestral land, and gaining emotional experience from a societal perspective were identified as the main motivations for travel.

The results show that generally, three motivations will prioritize tourists’ interest in travel: 1. personal interest and need, 2. showing one’s identity and culture to others, and 3. improving the situation of the ancestral land.

Originality/value:

 The focus on the psychological and sociological core of distant ancestral tourists adds authenticity to this research. Moreover, the results obtained from this study will be effective as the first steps towards the growth of ancestral tourism.

The scripts' final word is generally known as the ending, the completion, the ‎signature, and the word "Anjameh." This section's significance is because it provides a brief overview of the author, version features, time, location, and political and social conditions of Writing. "Jong" (codex) is also referred to as a manuscript or a set of documents containing a selection of historical, literary, religious, and scientific documents and texts.
With this explanation, the present paper's main issue is to examine the importance of colophon in recognizing "Jong-e Ahmad Gholam's" historical values from the late Safavid era and the time of the Afghan uprising. This research suggests that study the content and form of the colophons of this manuscript is the first step of correct recognition of the author's identity, spatial and temporal identity, historical context, and comparative and critical examination. The method used in this research is the formal and content analysis with phenomenological approach extracted and discovered data from the manuscript mentioned above along with documentary and library sources.

Tolerance policy of Timurid statesmen, Shi’it bond with Sufism flow and the effosrt of Shi’ites, especially after the fall of the Abbasid caliphate provided a ground for the Shi’ite religion to grow in the Timurid era (913-771 AH) in various dimensions. This point affects other components of Iranian identity, including art and architecture, and the causes gradual development of Shi’it approaches in Iranian art and architecture from this time omward (Some use the term "Shiite art"). Increasing the use of Shiite ornaments in buildings such as Imam Zadegan, the shrine of the Eighth Imam (Pbuh), important Iranian mosques and other monuments in the 9th century, confirms this point. In this regard, the definition and formation of this art in general, and the relationship of architecture and the Shi’ite religion in the Timurid era in particular is the main question of the present article. The research is done by the use of descriptive-analytical method, field study, and referring to library resources.

The link of the Calligraphy and Tashayyo, Timurids are Turkish – Mongolian dynasty that ruled on Iran and maoraalnehr generally in 771- 913 years. The migrating and settling life at the same time in Joghatay Alus and central Asia led to brief familiarizing of Timur and his substitutes with Islam and Iranian culture.
Therefor, the factors of Iranian Identity including Iranian art and shia religion found more time for growthing and unifying. Torelarant policy of timurids governors, the link of Sufism with the shia, individual or poral Shiites trying made the context for developing shia in the social dimension particulariy. On the other hand, Iranian art and its numerous branches, particulariy calligraphy in this time are like context that the other components of Iranian identity for example shia are its texts. The calligraphy as sacerd and Islamic art, had close contact to the shia in the timurid era.
Spiritual inspiration and modeled the character of Imam Ali and application of Shiite culture in the system of the master – apprenticeship are the theoretical dimension and writing manuscripts, poems and inscriptions are placed in a practical dimension of shia. The present research aimed at defining the role of the calligraphy in the publication and display of religious belief in the Timurid community and how to communicate this with shia at this time. On the other hand, are looking to investigate the causes of this communication. The method of this article is descriptive – analytic and is based on historical and artistic documents or resources.

Various aspects of art such as painting, architecture, illumination, bookbinding, woodcarving, mosaic (Moarraq) and book decoration had such a splendid development during Timurid Period (771-912 AH/1370-1506 AD) which it has been known as the age of art prosperity. The aim of this article is to study the artistic genre of calligraphy according to documents and sources based on descriptive-analytical approach. Patronage and interests of Timurid princes, nobility investments, enjoyment from experiences of artistic and scientific centers of Ilkhanid era, and the importance of learning this genre of art, along with political, cultural and social function of calligraphers and various usage of calligraphy paved the way for its evolution in Timurid period.Yet the important accomplishment of calligraphy in 9th century was its relation with Iranian identity and its characteristics. The extent of Persian literature (verse and prose works) during 7th and 9th century is one of the reason that made Iranian feel the necessity of having special handwriting on their own and independent of Arabic handwriting. Innovation and evolution of Taliq, Shekasteh Taliq and specially Nastaliq during 8th and 9th century and its relation with Iranian and Islamic cultural characteristics such as Persian poem, language and literature, Shiite faith made calligraphy one of the main characteristics of Iranian identity.

Different artistic fields and disciplines including painting, architecture, gild, binding, woodcarving, book polishing, has a significant improvement during Timorian authority (771-912 Hejri-ghamari). This period is called art prospering period. One of the art fields is calligraphy which we try to study using descriptive and analytic method based on remaining documents and resources from Timorian period and current resources. The calligraphy art was also reformed by support and interest of Timorian princess’s, investment of rich society, using experiences of art and science centers of Ilkhani period, necessity of learning that became a culture in Timorian society, the different political, cultural and social functions of calligraphers and different usages of calligraphy were reformed methodologically. But the important achievement of this art in 9th Hejri-ghamari century was its binding with Iranian identity and its coordinates. Extension of poetry in Persian during 7th to 9th centuries was one of the issues that made Iranian in demand of special autography for themselves and independency of Arabic autography. Invention and completion of Taligh autography, Shekasteh-taligh and specially Nastaliqe during 8th and 9th Hejri-ghamari centories and its binding to Iranian and Islamic cultural parameters including poetry, language and literature, Shiite religion (which is known as one of the Iran identity parameters from 10th century) and different artistic disciplines that had Iranian approach, made calligraphy and autography one of the main parameters of Iranian identity and had contributed significantly to its prosper. The objectives of this research are to study this art and the reasons of reformation, studying the relationship of this art with Iranian identity and applications and the position of calligraphers in political and social system of Timorian era.

Judgment and jurisdiction have been reckoned as one of the most important issues in human society. Also, in Iran at different periods, whether pre-Islamic or Islamic period, judgment was considered as the most important governmental affairs, so that the king was at the head of judicial affairs and he was the one who entrust this judicial power to judges, and sultan's secretary judges were considered his lieutenant in this affair. In addition, the command of sultan besides religious instructions and common law was one of the bases of judgment. During Timurid region, there was the same position. In this period, judgment was the important function of kings so that the sultan, himself as the highest judicial authority at the law court handled the trials, the highest positions of judgment were appointed by him and his order and command was effective in appointment, changing, and reduction of punishments in judicial courts. In this period, judges did the act of judging based on Islamic religious law, common law, and king’s command. Yasa of Chinggis was one of the important bases of common law judgment until 815 A H, when it was nullified by Shah Rukh and it became the most important change which occurred in the policy of this period. The aim of the author of this article is to study the judicial basis of Timurid period and, to investigate judicial policy of some of the kings in this period like, Shah Rukh, Ulug Beg, Abu Sa’id, and Sultan Husayn Bayqarah, with a descriptive - analytical approach relying on librarian recourses and available documents.