مقالات رزومه میثم روشنی

Justice is one of the main issues of Iranshahri political thought and a universal concept. In Iranshahri's thought, justice is the explanation of a political situation based on which the social order coincides with the cosmic order. This idea of justice as the establisher of social order is the main function of Kings. Regulating the relationship between the King and the subjects was one of the most important issues of justice. But, the realization of this function required the benefit of the Iranian race and recognition of the sacred cosmic order by the King. After this recognition, the king acquiring the wisdom of the just king could be possible. Acquiring this knowledge was possible only through the education of the king by the wise minister. Also, for the continuation of the political system, it was mandatory for the successor of the king, to be trained by a wise minister. Therefore, the role of the wise minister as well as his method of Andarzname was important. Andarzaname was an instructive expression of political wisdom in the context of the story and includes an important aspect of the history of Iranian thought. The aesthetic requirements of the Andraznamei method shape many artistic and literary works of Iran. Therefore, the most important updates of Iranshahri political thought have been formed in Persian arts and literature. Therefore, it is necessary to pay attention to the tradition of Andarzname and the political aspects of that, to be able to understand many subtleties of the works left over from Iranian art and literature. to what was mentioned, it is noteworthy that during the Timurid era, the issue of realization and continuity of justice in society was considered an essential principle for the rulers. Justice of the king is emphasized in many texts of this period. Also, it was common to adapt or to reproduce a copy of the important texts of Andrzanameh, with the aim of transferring knowledge and political wisdom. On this basis, Khamsa of Nizami was considered in this era. The copy of Or 6810 preserved in the British Royal Library, which was one of the products of the court library of Sultan Hossein Baiqara, is one of the most exquisite copies of Khamsa of Nizami, with a collection of Iranian arts. Also, this version contains a painting with the subject of the Khovarnaq Palace painted by the artist Kamaluddin Behzad. Considering the importance of Khamsa of Nizami and the art of painting in the Andrazname tradition, it is important to consider the various aspects of the manifestation of justice in this painting as one of the prominent works of Iranian art.  In this painting, the subjects are building a palace for the king. As noticed, the relationship between the subjects and the king was one of the main aspects of the concept of justice, which is depicted in this painting. Therefore the aim of this article is the cognition of relationship between the concept of justice and Iranian painting. The research method is descriptive-analytical and historical. The method of data collection is documentary and library research. In this article, the Miniature of the Khovarnaq Palace is analyzed as a case study. Based on this, in this study, the question was raised: what is the relationship between Khamsa of Nizami's account of the building of Khovarnaq Palace and its depiction by Kamaluddin Behzad with the necessity of establishing and continuing justice during the reign of Sultan Hossein Baiqara? The necessity and importance of this article are also in the study of Iranian art as a subject with multiple aspects. On one hand, it is important to examine the socio-political aspects of Iranian art, and on the other hand, how to find the relationship between socio-political aspects and aesthetics. The obtained results show that the painting of the Khovarnaq Palace building is one of the works of the Andarzname tradition and reveals the necessity of the ruler's attention to the establishment and continuation of justice. In the context of the narrative of Khamseh of Nizami and considering the historical events during the rule of Hossein Baiqara, several layers of meaning are formed when facing this image. In this painting, with the beauty of repetition, the shape of the bricks, the color of the palace, arrangement of the workers, an image of justice is brought to Sultan's attention. Also, the need for the Sultan to pay attention to the continuation of justice, the relationship of educating the successor of the king, and maintaining the community's jobs becomes a central aspect. In another layer of this painting, the issue of maintaining the jobs of professors and artists is also raised. By objectifying the most important aspects of justice in Iranshahri's thought, this painting has made justice in Armanshahr its main subject.

The methods arising from the tradition of political advisory in Iran, having their roots in ancient times, were continued during the Islamic Middle Ages and made it possible to shape the advisory aspects of Iranian artworks. During the reign of Sultan Hossein Baiqra, due to the political conflicts in the court, the continuity of the government and the establishment of the order of the court was especially accompanied by the necessity of distinguishing friends from enemies in the court. However, according to historical documents, numerous reports of Sultan Hossein Baiqara's negligence in choosing agents and his mistake in distinguishing friends from enemies have been recorded in the form of a risk for the continuation of the government. It seems that Kamal al-Din Behzad, who had a special position in the court of Sultan Hossein Bayqra, using his closeness and influence on the sultan, chose the illustration of Dara and Ramehdar (Herdsman) to admonish the sultan and to correct his mistakes in governance.This miniature, which is a leaf from the copy of Bostan Saadi dated 893 AH, in terms of the topic of the story selected from Saadi and also in terms of the artistic subtleties used by Behzad, teaches the importance of distinguishing friend from enemy in governance. The illustration of this miniature is such that, in contrast to the conventional images of kings, which show their power, fighting, or pleasure-seeking images, it depicts a lonely king among herds and herdsmen in such a way that he is receiving advice from the herdsman. Therefore, according to the fact that Sultan Hossein Baiqara's error in distinguishing friend from enemy is emphasized as a political problem and this phenomenon is taken into account in the subject and the way of illustration of miniature of Dara and Ramehdar, in this research, Dara and Ramehdar as an advisory miniature Has been studied.In this research, the question was raised: in what aspects and parts of this miniature did Kamaluddin Behzad achieve his advisory goals and what was his visual tool? The purpose of this research is to know the visual possibilities of the tradition of political advisory and the methods and visual tools to achieve this goal in the form of Herat school miniature. Therefore, this research is important and necessary to examine Iranian art as a subject with multiple aspects. In this research, on the one hand, it is necessary to examine the political-social aspects of Iranian art, and on the other hand, how to find the relationship between the political-social aspects and aesthetics is important.In this study, the descriptive-analytical and historical research methods and the method of data collection are documentary and library. In this article, the miniature of Dara and Ramehdar is analyzed as a case study. The sample selection method was purposeful and data analysis was done qualitatively. First, based on documents and library sources, the political necessity of the formation of this miniature from the Bostan Saadi version, during the reign of Sultan Hossein Baiqara, was studied. Considering the political necessities identified in this era, and the advisory qualities of Saadi's story, based on the theory of Iranshahri's political thought, the qualitative analysis of this miniature was carried out using the semiotics method of the tradition of political advisory and the concept of justice.The obtained results show that Kamaluddin Behzad, in illustrating the miniature of Dara and Ramehdar, by paying attention to advices Saadi, has embodied an advisory image in the context of the tradition of political advice. This miniature, which was depicted in a version of Bostan Saadi and for Sultan Hossein Baiqra, emphasizes the importance of establishing order in court affairs. On the other hand, Behzad, using various artistic arrangements and portraying Dara in the clothes and headgear of Sultan Hossein Baiqra, has rearranged the advice of Saadi about his contemporary conditions to point out the similarity between the behavior of Dara and Sultan Hossein Bayqra. In this miniature, instructions such as the supervision of subordinates and the importance of distinguishing friends from enemies are given attention, which seems to have been related to the necessity of eliminating the disorder in the court of Sultan Hossein Baiqara.Also, in this miniature, the selection of elements, composition, and quality of illustration is such that Sultan Hossein Baiqara's mistake in distinguishing friend from enemy, which appeared in Qeshlaq Marv, is reminded of him. The depiction of Sultan Hossein in this miniature shows the distinction between his behavior and his royal position as the main person responsible for establishing the overall order of affairs and the highest position in the court and the land. According to Saadi's poem and the behavior of Sultan Hossein Bayqra in the administration of court affairs, the elements of this picture depict the Sultan's presence in the meadow in such a way that he is embodied as the cause of disorder, astonishment, and confusion of his subordinates, in a lower position than his subordinates.

According to the epistemological foundation of Iranshahri political thought, establishing court order was a necessary principle. For the realization of Shah Farahmand, it was necessary to separate the forces of the army, religion, and court and to bring them into order by the minister. But the influence of these forces, especially during the crisis of succession, was always a factor in disrupting the order of the court. One of the challenges of the ministry was maintaining the balance of power. But with the arrival of Turkish and Mongolian traditions and the presence of court ladies, their power to interfere in court affairs created a critical condition for the continuation of Iranshahri political thought. The actions of the ministers in the face of the crisis, the involvement of women was necessary and due to the importance of the Indraznameh method, it led to the emergence of numerous literary and artistic works.During the reign of Sultan Hossein Baiqara, this crisis also occurred and was effective in the collapse of the Timurid dynasty. Due to the necessity of facing this crisis, many edicts were created to make the Sultan understand. The publication of Yusuf and Zuleikha by Kamaluddin Behzad was considered important and necessary, considering the importance of this story in the tradition of writing and considering the necessity of using aesthetic qualities to draw the Sultan's attention to this crisis. Analytical-descriptive and historical research method and library information collection.

According to the political thought of Iran Shahri, achieving justice in the social system was one of the main issues of the Middle Ages in Islamic Iran. In this political thought, justice was designed as a means of aligning social order with the sacred order of the cosmos. During this period, as a result of Iranians' confrontation with Turkish and Mongolian traditions, special aspects of various dimensions of the concept of justice were formed in Iranian culture, society, and artistic works. Based on tribal traditions, the power that was based on the sword was one of the most important components of the formation of the courts of Turkish and Mongolian rulers. One of the results of this approach was disorder and political instability at the level of the court and society. In the Timurid period, political changes resulted in the significance of the position of divan-salar and the emergence of competition between Timurid emirs and Iranian ministers to gain divan positions. These competitions were among the factors creating instability and disorder at the court. One of the measures taken to deal with such tensions was the use of miniature art in the context of political admonition tradition.

The research method is descriptive-analytical and historical in terms of fundamental goals and nature. The data collection method is documentary and library-based. In this research, a miniature with the title of “The Poet’s Praise of the Robber-Chief” was analyzed as a case study. The sample selection method was purposive, and the data analysis was done qualitatively. First, based on library documents and sources, the political necessities of the formation of this miniature from a manuscript from Sa’di's Gulistan during Shahrokh's reign were examined. Based on the identified political necessities during Shahrokh's era and the political advisory qualities of Sa’di's work, from Shahri's outlook, a qualitative analysis of this miniature was undertaken in relation to the political advisory tradition and the concept of justice.

Research Findings ‎:

Given the entry of emirs into bureaucratic affairs, the illustrating of the “The Poet’s Praise of the Robber-Chief” by Iranian artists from the Baysunghur library was a significant action. The subject of this miniature was based on the tenth story of the fourth chapter of Sa’di's Gulistan, entitled “On the Benefits of Silence.” In this story, Sa’di briefly portrayed how through the presence of a deceitful ruler, the disruption of the righteous social order and the disturbance in the system of epistemology occur. From Iran Shahri's perspective, when foreign rulers are falsely placed in the position of sovereignty, the court becomes a source of oppression, and the order of all affairs becomes disrupted by lies. Accordingly, Sa’di, by presenting two attributes of the “praiser” for the poet and the “thief” for the military commander, portrayed a situation of disorder of meanings and a disruption of the function of individuals emerged as a result of the oppression of the rulers. Through creating an interaction between the praising poet and the robber-chief, Sa’di emphasized the role of the deceitful rulers and highlighted the astonishing consequences of the contemporary oppression by referring to the nudity of the poet, wild dogs, and frozen stones.In the examined miniature, considering the similarity between the robber-chief depiction and the Timurid emirs' portrayal, this miniature gave a tangible representation of the past in proportion to their contemporary time and created a contemporary admonition. The drawing of facial features, clothing, sword, boots, and turban depicted for the robber-chief had a noticeable similarity to how these elements had been depicted in other miniatures of this period reflecting the characteristics of Timurid emirs. Attention to the decorations and details of the luxurious clothing for Dezdadan also added to the necessity for the reflection on this miniature. Based on this, in this miniature, thieves were depicted with clothing and faces similar to those belonged to Timurid emirs. By observing this miniature, it could be imagined that a poet, before what was depicted by painters, went to the palace of the holy city with the intention of praising the ruler living there; however, instead of receiving a reward, his clothes were stolen by the robber-chief, who falsely took his place in the palace. As a result, with the presence of deceitful emirs, this holy palace also lost its authority in order and righteousness and became a place for the residence of oppressors. Based on this, it can be concluded that in addition to the defined elements of military commanders, equating him with Timurid emirs, the depicted location for his presence in this miniature was not a ruin or a room in a remote village suitable for thieves, but a place equivalent to the government palace and court.

The miniature of the poet’s praise of the robber-chief is an example of political advisory art that emphasizes the importance of establishing order in the court and justice in governance. Iranian artists from the Baysunghur library created this miniature based on Saa’di's political advisory poem, representing contemporary political realities and confronting Turkish and Mongolian traditions present in Shahrokh's court. The artists depicted the disorder of the times and the transformation of roles and functions through the portrayal of astonishing elements such as stones, dogs, praising poets, and the clothing and the palace of the robber-chief. The miniature also highlights the role of Timurid emirs in the court and their similarity to Dezdadan. Through the continuation of Sa’di's role in political admonition, the artists also criticize the inappropriate behavior of praising poets in the court. The entry of Timurid emirs into bureaucratic affairs during Shahrokh's reign was considered a factor in disrupting the court's order from Iran Shahri's view. Therefore, depicting thieves with clothing and faces similar to Timurid emirs in this miniature can be seen as a critique of their behavior. Finally, this process highlights the role of artists from the Baysunghur library in reinterpreting and presenting Iran Shahri's political thought principles through political advisory art.

During the era of Sultan Hossein Baiqara and the ministry of Khwaja Nizamul-Molk Khafi, despite the prosperity of Herat City, the emergence of a kind of fundamentalism in the society was prominent and caused dissatisfaction. Considering the relationship between art and political and social necessities in this era, the painting of a story from Bostan Saadi, with the subject of a drunkard person and a muezzin, in the version of 883 AH, is a significant issue; In this miniature, the emergence of fundamentalism was mentioned and it seems to be related to the social situation of this era. Therefore, with the aim of cognition of the relationship between the occurrence of fundamentalism in the court of Sultan Hossein Baiqara and the depiction of the drunkard in the mosque, this question was raised: What is the relation of selecting the story of drunkenness in the mosque from Bustan Saadi, for miniature in the 883 AH, version of Bustan Saadi, with the revealing of fundamentalism in the court of Sultan Hossein Baiqara? The necessity and importance of this article also in examining the social-political aspects of Iranian art. In this study, the descriptive-analytical and historical research methods and the data collection methods are documentary and library. The results show that visualizing the miniature of drunkenness in the mosque, embodying the contemporary social situation in Herat, distaste for fundamentalism, and the need to pay attention to monotheism are warned. Also considering the emergence of fundamentalism during Saadi's lifetime, in the story of the drunkard in the mosque, the fundamentalism that emerged in the community has been criticized and admonished as a moral and social problem. In this miniature, on the one hand, by using the way of space creation and motifs common in the Timurid period, the story of Saadi is rearranged in the era of Sultan Hossein. On the other hand, the method to visualize and add elements such as the image of a surprised youth, the hands and face of a drunkard as a defenseless and astonished person, pride and arrogance in the behavior and face of the eunuch, as well as the contrasts formed between the forms, figures, and atmosphere of the mosque, distinguishing fundamentalism and monotheistic faith in this era is considered visually and semantically. In this regard, the way of choosing noble Quranic verses and their role in the double inscription in this image is such that the distinction between fundamentalism and monotheistic faith in relation to Saadi's story and the visual and semantic qualities of this image is doubly noticed and necessary and advises to avoid this behavior from the point of view of divine laws. Therefore, in this miniature, while rearranging Saadi's story and using Quranic sources, the fundamentalism developed in the era of Sultan Hossein has been embodied and it has been warned to avoid it by using various artistic advice.