مقالات رزومه محمد سواری

The story of Gol and Bulbul is a romantic story that was noticed by mystics and writers in the Middle Ages of Iran. For the first time, Attar has given an independent story about the love of a nightingale to a flower in Manteqh-o-alteir, and in the continuation of this story, its Sufi aspects are discussed in Bulbul Nameh and Nozhat al-Ahbab. In the analysis of the stories that are written in the language of al-Riyahin and Murghan, the Arabic version of Kashf al-Asrar fi Hokm al-Tayyur va al-Asrar and Ramz al-Riyahin have described the development of beauty in a similar format, but in Bulbulnamehs and especially Gol and Bulbul's Masnavi of Sheikh Abu Ali Qalandar mentioned its Sufi aspect. The stories of the flower and the nightingale were romantic narratives that became the basis of Sufi views, and it was not without reason that the basis of all these mystical texts originated from the Manteqh-o-alteir.The nightingale was a searching bird that was considered to be the home of the soul of a lover, who in an attempt to reach a worldly lover has exposed himself to thorns and fire, and is condemned by other pilgrims of truth in order to go to true love. This research, by examining the sentences of poems that deal with the flower and the nightingale, seeks to answer the question, what is the place of the flower and the nightingale in the mystical literature of Iran in the Islamic period, and how can the characteristic of the searcher be explained? This research, by referring to first-hand literary sources, recognizes the place of nightingale and explores the reason for its widespread use. The research method is descriptive-analytical and the library method was used in collecting sources. The findings show that the Meraj journey of the Prophet became the subject of mystical stories, a spiritual journey that was interpreted by the mystics as a journey through the mortal world and a step in the valley of love and its stages. The sages wrote treatises on this subject to be the basis of Manteqh-o-alteir, the best of which, according to Attar's narration, was written down. Although Ibn Sina's and Ghazali's Risalah al-Tayir and Sana'i and Khaqani's Risaleh al-Tayir were written before Attar, his work was a common chapter of all four works. The only commonality of all the schools was the belief in unity, which is the basis of Tariqat and Sufism, and the schools that were derived from them, and it is well evident in the words of Attar. In Manteqh-o-alteir Sanai and Khaghan regions, the number of Murghan does not reach thousands and there are only a few. And not all types, but those whose place is in the garden, rag and grass, and who love and admire the beauty of greenery, grass, and rhizomes. Their problem is not related to themselves. Rather, they want to choose the most beautiful among all those flowers, each of which shows off and emits fragrance in a way. This feature is also understood and deduced in Rams al-Rayahin and Kashf al-Asrar fi Hokm al-Tayyur and Al-Azhar Ibn Ghanem. In Manteqh-o-alteir of Attar, Marghan like a seeker, a soul in love walks in a difficult valley. The story of the nightingale and her love for the red flower, which is a symbol of worldly love, is the beginning of a love story in Manteqh-o-alteir, which she expands and expands on in the Bulbul Name and Nezhat al-Ahbab, and becomes the foundation of several centuries of Sufi love stories among mystics after her. A flower in Attar's eyes is pink, mortal, and has attributes such as beautiful, short-lived, falling under the feet, sitting with thorns, and in the fire of rose-water, which were mentioned before by poets; But atar's nightingale is sometimes the language and mood of atar himself. But the most obvious feature is the seeking Murqh and the spirit of love. Among other mystics, this attribute is imagined, the nightingale is sometimes a thousand-story teller who speaks the truth, al-Hamdukhan, Abjadkhan and Zandavaf. The nightingale, which is a symbol of attachment to earthly love, according to mystics, must be the soul of a lover who breaks the cage of his life and frees himself from these attachments in order to reach true love. This mystical aspect of his representation in the painting of Gol-o- Murqh is a sleeping Murqh that is observing.

Single Iris bushes can be seen in many flower and bird miniature of Shiraz painters. This flower grows in the region of Susa. The region of Susa or Suzian has been so named because of the growth of Iris - in the west and southwest of present in the Elamite period, and has a religious connection with the Elamite goddess and has a symbolic aspect in the culture and art of ancient Iran.  Also emphasizes the belief of the people of this region in the mother-gods and Iris can be known in the Ural language “As the land of the Aryans”.  In the islamic period, due to the prohibition of portraiture, the use of the role of Iris (Islamic) in the decoration of places such as mosques and elements that add to their architectural nature such as water(pool) and light(skylight) is a continuation of the traditions of temples and crypts of worship of the goddess Anahita. The aim is the genealogy of the Iris flower and its connection with the gods in the art of ancient Iran and its transformation in the Islamic period.  So what is relationship between he celestial Iris and the goddess Anahita?  And how did its transformation into Islam manifest itself in the Islamic period? And what is its place in Safavid to Qajar flowers and birid miniature? The research method is descriptive and analytical and data collection is library and electronic. The findings show that the Iris is known in pre-islamic texts as the guardian of the plant and water on earth, Along with the goddess Anahita, with two amshaspands of “Hwrtat” and “Ameretat”. In the art of ancient Iran, the role of the Iris along with the Lotus and Ahuramazda, formed the holy trinity of the Iranians and confirmed their religious aspect by appearing in the murals of the stairs of apadana palace. In the Islamic period, artists established the abstract role of Iris in Islamic, Islimi or Arabesque Form in religious places. From the Safavid period onwards, when Iranian painting tended towards naturalism, artists used western painting methods and applied it realistically, not only in murals and marquises, but also in the texture of fabrics. Examining the composition of Irises in lacquer works, it can be understood that the artists of the fitrat period had some knowledge of the characteristics of two flowers of the Iris and the lily. as well as the poems that we see in the margins of these roles that contain words such as "mirror", idol (goddess of Pinikir), ornament (Anahita's feature in Aban yasht), seal, light, wheel (sky), moon (goddess of sin), sitting on the mirror (emphasis on the moon), divine kight (Mitra), the shadow of god the connection between Mehr and Anahita, which is between water and light, can be understood. Light emerges from three sources (sun, moon and stars). It can be understood that these lacquered mirror cases & book coovers in the Zand and Qajar periods (the school of flowers) were an emphasis on Anahita's identity.

In the Timurid period, "Tashiir" was formed on the margins of books and "Murraqa" was created. The present study is based on descriptive-analytical method Tries to answer the questions of how the painting of flowers and birds as one of the subjects of Tashiir in the margins of murraqa was considered as the main subject of the Painters, And How can the effect of flower and bird painting in China on Iranian flower and bird painting, especially in the Timurid period, be explained?The findings, based on visual analysis of the paintings, indicate that the aficionado nature of the Timurid rulers and the treasures full of gold and the desire for luxury, enabled the formation of murraqa for the Timurid princes so that artists could use freely take gold from paintings that were ‘Halkari’ (dissolved Gold) with themes Was "Struggling" and Tashiir It was read. One of the Favorit topics by the artists in the design of Tashir in the Murraqa was "Flowers and Bird", which consists of two The perspective can be examined, firstly, the desire for realism in the design of these Tashiir which led the artists to objective subjects, and secondly, due to the arrival of Chinese works of art, Herat artists were influenced by the naturalistic style of Song and Ming. Most of the information in this study is completed by the four sites in the Topkapi Palace Museum in Istanbul and the Diez album in the Berlin Museum.

Naqshbandiyya, instead of being a Sufi and away from the masses, paid attention to work and livelihood and was able to capture the pulse of Transoxiana trade by expanding trade through the Silk Road and influencing the ruling class. The ultimate purpose of examining the textile situation of the timurid period, (specifically the city of yazd)and the practice of naqshbandi khajagans in achieving monopoly of the economic cycle and its reflection in the safavid period So what was the situation of agriculture and silk trade in the city of Yazd during the Timurid period? And what effect did the Naqshbandis have on the prosperity of the Timurid textile trade, especially in Yazd? The qualitative research approach, in terms of purpose, is applied and descriptive and analytical in nature. The method of collecting information is library and documentary.Findings show that trade development, business prosperity, attracting craftsmen and farmers, development of textile industry, silk weaving and silk products which were strategic goods were at the forefront of Naqshbandian economic activities. The presence of Naqshbandians in this lucrative trade and the monopoly of the economic cycle made them aware of the city of Yazd, the origin of silk and the main base for the production of the finest silk textiles. However, with the demise of the Timurid dynasty, the Naqshbandiyya dynasty faded due to inseparable ties with the government; However, their intellectual heritage and artistic current were reflected in the Safavid period and its manifestation can be seen in the works of art of Shah Abbas I period, including the works of Ghiasuddin Naghshband, the culmination of Yazd's weaving art.Naqshbandiyya, instead of being a Sufi and away from the masses, paid attention to work and livelihood and was able to capture the pulse of Transoxiana trade by expanding trade through the Silk Road and influencing the ruling class. The ultimate purpose of examining the textile situation of the timurid period, (specifically the city of yazd)and the practice of naqshbandi khajagans in achieving monopoly of the economic cycle and its reflection in the safavid period So what was the situation of agriculture and silk trade in the city of Yazd during the Timurid period?Findings show that trade development, business prosperity, attracting craftsmen and farmers, development of textile industry, silk weaving and silk products which were strategic goods were at the forefront of Naqshbandian economic activities. The presence of Naqshbandians in this lucrative trade and the monopoly of the economic cycle made them aware of the city of Yazd, the origin of silk and the main base for the production of the finest silk textiles. However, with the demise of the Timurid dynasty, the Naqshbandiyya dynasty faded due to inseparable ties with the government; However, their intellectual heritage and artistic current were reflected in the Safavid period and its manifestation can be seen in the works of art of Shah Abbas I period, including the works of Ghiasuddin Naghshband, the culmination of Yazd's weaving art.

One of the most beautiful romantic and mystical confrontations among Iranian artists and writers has been the confrontation between Gol-o-Bulbul (the flower and nightingale), in which Bulbul sits by the flower (beloved) like a lover.  This embodiment was strengthened by the Safavid painters and reached its peak during the Zand and Qajar periods.  The painting of Gol-o-Bulbul gradually expanded from bushes to “Golshan” with different flowers (Roses, Iris, Tulips, Liliums, Dahlias, Hyacinths, and Blossom). The aim of this article is to study the continuity and composition of the role of the sacred plant from ancient Iran to “Khatai” in the Islamic period and to “Golshan”.  This study seeks to answer these questions: what is the evolution of the sacred plant from the pre-Islamic period, to Khatai in the Islamic period, and to its transformation into Golshan? How can the belief in the human origin of the plants be explained in flowers and birds and what are the characteristics of birds? Has it been more widely used in Iranian literature in contrast to Gol-o-Bulbul? Then, referring to literary sources, the dignity of the Bulbul was recognized and the reason for its widespread use was explored.  The deployed research method is descriptive-analytical, and the data have been collected through library study.  In examining the history of Golshan, three patterns are encountered: first, Golshan with an indeterminate and dense growth section; Golshan with an indeterminate and circular (spiral) growth section; and patterns with a definite growth section, all of which are traced back to visual traditions of pre-Islamic periods, despite slight differences.

The painting of persian consist of the accompaniment of a Peony (Red Rose) and a bird that is often unfamiliar on the stem, or a combination of two celestial Iris and white lilies, a single tulip or Narcissus plant. The pictorial foundations of flowers and birds can be considered as symbolic elements of pre-Islamic illustrations. In the holy trinity of the Iranians, “Mitra, Ahuramazda and Anahita” can be seen in the form of transformed Mitra with the Lotus (as we see on the stonecarving of Taq Bostan arch), Ahuramazda with a winged disk depicting the role of simorgh or Sien-morq and Anahita is the goddess of water purity. With the role of Iris, which are the flowers of Amshasbandan Amertat and Hwrtat. In the Islamic period, due to the limitations of iconography and illustration, this abstraction in the form of two Islamic or Islimi roles, Arabesque (Iris) and Lotus or Khatai found their way as the pre-Islamic religious image pattern prevailed in places such as mosques and altars. The purpose is to study how the pictorial traditions of ancient Iran continued until the abstraction of roses? So what is the transformation of the pictorial traditions of the ancient gods of Iran in the red rose of the Islamic period and what is the identity of the birds in this art? The research method is descriptive-analytical and data collection is library method. The role of the Lotus and the rooster, gave way to the prophet Muhammad and his ascension by emphasizing the manichaean Lotus and rose flowers (peony) in the Islamic period. Examination of pre-islamic artistic and cultural influences reveals an important example of the prophet’s meeting with the white rooster, the rooster sitting on An Throne (orang), which was of special importance to the manichaeans, using symmetrical patterns common in the pre-islamic period and in the works of the Timurid period. Safavid and Qajar artists with more emphasis on the principle of abstraction tried to present these patterns in the style and context of their time. In the Safavid period, although there was a tendency for traditional roles, but the emergence of western painting caused a change in the design and role of flowers and birds. The artists who tried to achieve the patterns of naturalism and realism that they learned from the european painters did not forget their themes and in the period of Afshar and Zand, using the creative mind and influenced by mystical literature, turned the rose into a symbol of prophet Muhammad. The composition of flowers and bird should be more regular and create new compositions using various flowers, but in the early Qajar period, this combination increased on practical works, especially lacquer, and its most used in this period was the cover of the Quranic book and religious prayers, which show it was the artists’ awareness of the subject; If the use of sleeping birds as a representative of the artist’s condition and the figures of recitation and recourse in the name of the pure Imams confirms this fact.

The period between the rise to power of Nader Shah Afshar and the reign of Nasser al-Din Shah Qajar should be considered a turning point in the painting of flowers and birds in Iran.  During this period, painting flowers and birds in "Muraqqat"(album), Lacquer works and architecture became a popular genre.  In Muraqqat, single flower, in lacquer works a florilegium, and in architectural decorations, flowers and vases, «afshan» and spirals were used.  During this tumultuous period, artists were forced to relocate state painting traditions.  Studies show that the difference between the structure of flower and bird painting in the cities of Shiraz and Isfahan cannot be recognized, or it is not so noticeable that they were given two different styles.  Slight differences are sometimes seen between the works, such as birds with steretched body and heads in Shiraz and birds with large eyes in Isfahan during the Qajar period can be seen.  But these methods in design, composition and "pardaz"; they were quickly shared by top artists in the states who collaborated at the court, and the patterns were usually the same in composition in Shiraz, Isfahan, and Tehran.  The purpose of this study is to visually study the paintings of flowers and birds of Zand-Qajar period to answer questions such as: Technical and visual characteristics of flowers and birds of Zand-Qajar period in lacquer works, muraqqa's and architectural decorations?  What are the factors influencing the painting of flowers and birds in the Zand-Qajar period?  Let's answer.  For several decades, Mirza Mehdi Khan Astarabadi "muraqqa" the paintings of the Safavid period of Iran or the Gurkani of India, which often had floral and bird themes, and left the flower arrangement to Ali Ashraf and his students.  These works influenced artists such as Ali Ashraf and students who inherited Safavid painting traditions due to the relationship between teacher and student (Safavied School).  Ashraf and his disciples probably used the "gardeh"(copy paper) of Qalamdan to floral design of the "muraqqat" that had been looted from India.  A noteworthy thing about the "raqam" (Signature) is that the artists attached their names to their master as long as they worked in his workshop and had their raqam after artistic independence.  In addition to the royal muraqqa's, there are monochromatic watercolor "roqe" that work faster and don't have pardaz.  Pardaz are different from muraqqa's and Lacquer work.  Probably the pardaz in the lacquer works were large and rounded so that they would not lose color or the texture of the flower after the lacquer was applied.  In Lacquer works, the combination of Gulshans (Floriogium) is seen in three circular methods with an indefinite and circular growth section, a dense indefinite growth section and a definite growth section.  The desire of kings and artists for antiquity and the arrival of European works led to the emergence of eclectic elements such as angels, "Gulfarang"(European Rose). In this combination is a method of research, descriptive, analytical and reputable sites are done.

Flowers and birds have an ancient history and in Iranian beliefs reach the tree of life or the tree of all seeds on which Simorghi is the guardian. During the Timurid period, attention was paid to tashir, including the companionship of Khatai flocks with birds that had a natural aspect. In this field, before the Safavid period, there are no significant murals. The aim is to visually study the symbolic themes of flower and bird paintings on a case-by-case basis in the murals of the Safavid palaces of Qazvin and Isfahan (chehelsotoun), Hasht Behesht and Rakibkhaneh tower in Isfahan and the Qajar extensions in them. The paintings on the walls of these palaces are decorated with paintings from the battle of the kings to the feasts and battles of lovers and flowers and birds.The findings show that the flower and birds paintings of the mentioned palaces have been visually and thoughtfully engraved on the walls and their visual composition has been studied in five categories: Golshan or Yaleh, flowers and vases, Golboteh, Khatai and birds, Afshan and Flowers and angels. The flower and the bird can be considered as an abstract form of the tree of life before Islam and the Touba tree after Islam, which, although it has undergone changes in form and appearance, still retains its original pattern. Painters interpreted mystical stories in Iranian literature for kings who considered themselves the heirs of the religion and the guardians of Islam, using their imagination to create a second paradise. One of the main reasons for the presence of Qajar rulers in Safavid palaces and subsequent Qajar additions in the architectural decorations of these palaces was that the early Qajar kings showed themselves as heirs to the Safavid right. In the study of flowers and birds in the murals of palaces, although in terms of execution technique, the composition and symmetry are different, but both emphasize a religious theme. The choice of the role of the cypress tree to the flowering plant is a sign of the importance of the solitary bird, and the depiction of the rose plant for the bird's nest shows the importance of the bird and the rose and their literary conceptual relationship. In the paintings of flowers and birds studied in the Safavid period, the location of the flowers is outside the axis of symmetry, the bird is identifiable and its location is on a tree or branch of a flower; But in the Qajar extensions, most of the flower plants are centered on the symmetry of the effect, the bird is not recognizable, the bird's location is above the rose or centipede. The flowers of Isfahan's Chehelston Palace match the flowers of Hasht Behesht Palace, and the flowers and birds of Rakib Khaneh match the flowers and birds of Hasht Behesht Palace.