گلنار علی بابائی

Considering the importance of controlling and reducing high-risk behaviors (social harm) in general and social health, as well as attachment styles in all stages and dimensions of life, a prospective study aimed at investigating the relationship between attachment styles and high-risk behaviors with the mediation role of spirituality.

The research method was a correlation. The statistical population was all the students of Tehran universities (from bachelor's degree to doctorate), who were selected by multi-stage cluster sampling method with a volume of 420 participants. Measures included: Revised Adult Attachment Scale (AAI-15), Spirituality Questionnaire (SQ-29), and Youth High-risk Behavior Short Scale (YHBSS-14) were used to collect data. Finally, 393 participants were included in the analysis (final sample).

The results showed that the model for explaining attachment styles and high-risk behaviors with the mediating role of spirituality has a good fit. Based on the results, the direct effect of secure attachment style on spirituality and high-risk behaviors is positive and significant (P<0.01). Also, the direct effect of avoidance and anxiety styles on spirituality and high-risk behaviors is negative and significant (P<0.01). The direct effect of spirituality on high-risk behaviors is also negative and significant (P<0.01).

According to the obtained results, it can be stated that increasing spirituality can lead to reducing high-risk behaviors (social harms). Basically, spirituality acts as a buffer for high-risk behaviors, which can ultimately lead to general and social health.

One of the most important mystical themes are the authorities and stages of conduct. The degrees of conduct are the result of mystical reflections and the discovery and intuition of the Quranic truths and efforts of the seeker. These mystical themes in the period of Iranian-Islamic painting, and especially in the thought and opinions of Islamic rulers and ministers in the Timurid and the Safavid periods have had many reflections, according to which a number of books have been written and decorated with mystical themes and narratives. Among the existing books, Divan Hafez has also been painted and arranged. In this study, two intended paintings of “Dance of Sufis” by Kamaleddin Behzad and “Worldly and Otherworldly Drunkenness” by Sultan Mohammad have been studied in terms of degrees of conducts. The present article aims at examining the manifestation of authorities of conduct in Islamic mysticism and its effect on the illustrations of the two paintings in question. The present study seeks to answer the question: How do the two paintings in question, which are illustrated with a mystical theme, manifest the authorities of mystical behavior in the heart and states of the figures? The research method is descriptive-analytical and the data collection method is based on library and electronic resources. The method of analysis is qualitative. The findings of this study suggest that the two desired images in terms of the manifestation of mystical authorities of conduct, that are the manifestations of deeds and traits and intrinsicality of God, have been illustrated regularly and by visualizing these manifestations in Islamic mysticism and its emergence in the process of figurative states from the lowest position to the highest degrees, and bear a hidden message like reaching from the carpet to the divine throne, and finally reveal the degree of Fana Fi-Allah (annihilation in God). Sufism, which is the esoteric aspect of Islam, is distinct from the outward appearance of Islam, since direct spiritual conduct and divine truths differ from the doctrines that appear in terms of a particular human component in the individual order. Islamic mysticism is one of the sciences related to the higher world and the kingdom that sometimes is a manifestation of human dignity and high degrees of humanity, and this dignity can be seen and experienced in many different ways. The great scholars of science and the masters of intuition have stated many degrees of knowledge in the mystical and divine sciences. In fact, these degrees can only be achieved by conquering the physical aspects in the stages of conduct. These aspects appear in various forms such as vulgarity, greed, and so on, and the seeker, to get rid of their chains and straps, guided by the great teachers and high mystics, relies on the invocations that break him free of the world of evil, and lead him to the kingdom of God. He goes through difficult stages and receives authorities during mystical conduct until the essence of his existence passes through the stage and the steps of the kingdom and slowly enters the world of the Lahout. This degree of the mystics’ conduct is called the safe stage, because it embraces chastity and purity, and the humble and modest ones are going to meet their God.Throughout history, mysticism, and especially Islamic mysticism, has played an important role in art and decorations. Painting is one of the decorative arts that in its thematic and even its symbolic designs has expressed an aspect of Islamic mysticism, and with its elements of motifs and colors that appear as a mystical speech, has taken his audience to a journey from the low world of Nasut to the inner world of Lahout. The art of painting has undergone a great transformation with the arrival of Islam in Iran and has followed the path of mysticism along with the mystic poets, since most paintings have followed a theme or a poem in the context of their subject matter and have illustrated the story according to the mystical meaning of the poetry verses, while some of them have only used the mystical themes of their time to depict events. This art with a worldly and colorful appearance is a picture of the imaginary world that tries to reflect the heavenly paradise as well as the Lord's presence by the emergence of mystical content and spiritual states. To this end, the artist, with a certain degree of certainty and the help of mystical sciences, has devised a general and partial composition of the painting, and displays its motifs in pursuit of the supreme goal of mysticism and attainment of sincerity, and ultimately, the degree of the Hagh al-Yaghin. The artist has transformed from the inside during the illustration, and standing in the position of human elements, appears in a mystical state within the picture and refines the details.

In the Islamic architecture, functional geometric designs have more than technical means, in other words, the spirit of Islamic art has always been reasonable to the world and the world, because of the alternative to the materialist art, and in any case, the Muslim artist was able to draw a picture of the geometry of science. The application of this geometry, which is generally in different forms of geometry in the interior and exterior of buildings, these varied forms in the traditional domain of the Islamic religion can be able accompanied by national religious approaches. The symbol of the eight-pointed star due to its geometry and its specific form in Iran, especially in the sanctuary Razavi, has been considered as a spiritual center on the religious position of Imam Reza.The purpose of this article is to investigate the link between the symbolic concept of the 8th star in the sanctuary Razavi with the spiritual position of Imam Reza. Geometric shapes are an important part of the identity Iranian-Islamic art, this study examines the relationship between the star's eight and the imam of the eighth by examining the existential nature of the geometric role of the star.  To examine the relationship between the symbolic concept of the eighth star in Razavi's area and the spiritual position of Imam Reza. The research approach of this artical is based on a descriptive-analytical method based on library and field studies. According to the analyzes, the combination of spirituality and science in the context of the symbolic dimensions of geometric shapes (in particular the geometric role of the 8th star) and the theme of this form in terms of the science of numbers and graphs represent the artist's perception of their semantic function, and the relation of the symbol to the position The spirituality of Imam Eight was fully observed in the architecture of Razavi's shrine in Mashhad. Overcoming the symbol of the other symbols and diversity that artists have drawn in and painted has a symbolic link. Reviewing the historical background of the shape of the eight star and its application in the Razavi sanctuary indicates that the artists, using the science of numbers and the knowledge of the symbolic meaning of the number eight and the geometric shape of the eitgh angke star, have deep links with Imam Reza.

One of the most important aspects of an artistic expression in a work of art is the hidden form of its infrastructure. This item is especially noteworthy in Iranian painting. Symbolic and artistic expression in the works of the Safavid period are manifested in a well-organized manner in many paintings. Among the paintings depicted in the school of Tabriz II, the painting of Worldly and Otherworldly Drunkenness by Sultan Mohammad has many hidden semantic and symbolic layers. The aim of this study is to explain the mystical meanings in the form and structure of this painting and its relationship with the whole collection in order to answer this question: How are mystical aspects reflected in the structure and composition of the painting? The available findings are descriptive-analytical and the method for collecting data is library-based. The results indicate that the process of miniature formation follows an organized structure and contains a spiritual attitude with various mystical manifestations which in turn reveals the principle of “plurality in unity”.