فهرست مطالب seyed mohammad fadavi

Throughout history, Iranian mosques have embodied both esoteric and exoteric aspects rooted in the four elements within their architectural design, and they possess inherent symbolic and mythological dimensions. The present study aims to elucidate the mythology of the four elements in the spaces of Iranian mosques during the Timurid period, focusing on the Jameh Mosque of Isfahan and Goharshad Mosque. The research employs a qualitative methodology based on a phenomenological approach. Initially, a descriptive-interpretative method is used, followed by a qualitative approach in the research stage, a holistic-to-particular method in the reasoning stage, and a phenomenological method in the interpretation of the four elements and components of the structures in the Jameh Mosque of Isfahan and Goharshad Mosque. The results demonstrate that in the selected mosques, grounded in the understanding of the four journeys, the progression from earth to water, air, and fire, and the transition from the physical world towards the intermediate and afterlife worlds, in alignment with the four elements, sensory perceptions of spaces, archetypal images of elements and components, and proportions and movement towards the realm of imagination are consciously employed. This conscious application enables the representation of the myth of creation and death, which can be perceived and understood through the sequential transition of spaces. Based on the principles of spatial presence, the perception of knowledge and sensory experiences, and the phenomenological understanding of space, inlogical reasoning within the discussion, intuitive knowledge of spatial perception necessitates an archetypal behavior in users, with the goal of directing attention towards the metaphysical realm and perceiving the sacred.

Eslimi element is considered the first among the most applicable seven elements of the Iranian traditional art motifs whose application refers to the earlier centuries of Islam. However, the use history of the word Eslimi –also registered as Islami– dates utmost to 830 Hijri and is used only in Persian texts. So far, a lot of research is done on Eslimi, and various and contradictory theories are proposed on its background and origin. The point is that no comprehensive research has been done yet to consider and contrast the issues about the Eslimi element in “historical texts” and “research of the last century”, and their relationship is overlooked; Identifying that relationship is significantly important in Iranian-Islamic art. The present qualitative research which uses a descriptive analytical method and is based on library studies is evaluating the related references to extract their important data about Eslimi and to highlight their similarities and differences through comparative studies. Findings show that the last century researchers with non-Iranian pioneers have not paid much attention to Persian “historical texts” and they boast more differences than similarities. Although the formation of traditionalists’ ideology and its attention to “Eternal Wisdom” has reduced the severity of differences, our understanding of Eslimi –referenced as a religious and ethical motif– is incomplete and based merely on the western studies.

The word “Eslimi” which has been coined to name a special motif in Iranian art is one of the most frequent words in the field of Islamic Art. Various research has been done on the initial origin of this Arabesque tracery and its historical development and evolution in Islamic Art; however, no research has been done to exclusively deal with the word " Eslimi" itself. It is evident that every name has its own denotation and connotation. As such, the present research is to reveal the meaning hidden behind the word "Eslimi" so as to help a more complete understanding of this tracery. In so doing, two aspects appear to be of greater importance. First, the word “Eslimi” is seemingly originated from an Arabic root meaning "surrender"; Second, there is a relationship between this arabesque and its pattern mediated by “prayers” as the most important practical teaching of Islam. The current qualitative research is of a descriptive-analytical nature, which also deals with the fields of semantics and etymology to some extent in the analysis of concept and meaning of the word. The results show that the word "Eslimi" was first invented in Persian language and was not influenced by any of the word-formation rules of Arabic namely Imalah and Qalb. Whether the word is forged from an Arabic root or made from an existing root in the ancient languages ​​of Iran, it is synonymous with the word "Islam" –according to historical sources– with the most obvious meaning of "surrender"; "Islam” is one of the most fundamental words in the Holy Quran. All in all, this arabesque tracery can be considered as a symbol that embodies elements of the prayers and expresses the submission and the surrender of man to God.

Safavid is considered one of the most important historical periods in Iran. In this era, extensive developments were made due to civilization knowledge maturity. With the arrival of Shah Abbas, Safavid experienced the peak of its power. The art were supported and strengthen due to the persistence of cultural and religious aspects and longlife of Safavid and the wonderfull support of artists by the court.
During the reign of Qarchoghaykhan and his descendants (in Shah Abbas era), Mashhad witnessed remarkable advances in the fields of politics, culture and arts. Manuchehrkhan and his son, Qarchoghaykhan II, were prominent supporters of the written arts in Mashhad in the eleventh century AH.
Effective role Pedanius Dioscorides (Greek philosopher), author of Alhshaysh in the history of botany and zoology numerous translations of his books in the Islamic world and Islamic grounds followed by multiple copies of this book at the time. In most works, the images relevant scientific text accompanying them. Artists of different ages imaging in addition to text and images before his commitment period represent their aesthetic tastes had somewhat.
Materia medical attention Safavid old man and advances in the field of imaging to provide a copy of the court Alhshaysh = Manuchehrkhan's Golestan Palace.
Manuchehrkhan's Alhashayesh edition with 833 colorful papers is one of irreplaceable and priceless scientific illustration books in the Safavid era. It was completed on the evening of the third Friday of Ramadan in 1038 AH with request and support of Manuchehrkhan, the governor of Mashhad. Now it is kept in Golestan Palace Museum. Copying the book was done by Mohammad Al-Hafiz, an accomplished calligrapher of the time. None of the images in this edition has no a signature except for one, Soorat Alkasfarah (page195 of the book), which is signed by: "Malek Hussein Isfahani."
Furthermore the history of medicine in Iran and the Islamic World and then in Safavid era, and the influential role of the book Alhashayesh and its author, Dioscorides, on plant science and zoology of Islam is described. Alhshaysh artist in the image of some plants rely on their subjective perceptions and the reality of the world is avoided. Illustration edition of Golestan Palace, even those who are unaware of the text of the book or are not able to read them, the book is absorbed. Those interested can with a little, Safavid art in scientific images version of Alhshaysh through the Golestan Palace, in clear view. This version also allows collocation of Safavid art schools as well as the past. The author selects some examples of the Golestan Palace Alhshaysh edition and examines the relationship of images with the scientific edition and similar samples in other editions of Alhashayesh. The use of comparative and historical review as well as scientific and technicall analysis of some images is a feature of this research. Finally, the author concludes that the Astan Quds Alhshaysh edition is the copying source for all editions of the Safavid Alhashayesh including the Golestan Palace Alhshaysh edition .

This article is an attempt to present an introduction to the Fatimid government in Egypt and visual arts in particular the evolutionary course of Kufic script at that territory. The method of research and data collection was mainly based on using library sources. In collecting the data, efforts were made to translate the Arabic texts and in some case the Latin texts into the Persian or review the respective Persian texts. In the course of 209 years of sovereignty in Egypt, the Fatimid spent at least half of their government period in a constructive process in different political and social areas and devoted their time to the development of art. Experts and authorities to some extent have ignored the Egyptians’ arts and its flourishing state at Fatimid age. Therefore, it is necessary to makea multilateral review of what the Fatimid produced in the artistic domain. There is no doubt that the age of Fatimid was the age of thriving state of Islamic art in Egypt in which Islamic art and architecture reached their peak of glory. Though the materials presented in this article is short but it can familiarize us with the new findings of researches on the Fatimid›s art. At the end of the article, we will see that the origin of the primary Arabic script is the same Nabti script, which in the course of time underwent certain changes in particular at the early days of Islam and was known as Kuficscript. The Fatimid Shiite of the Egypt along with Iranian and Arab artists has had the highest rate of professional work on the promotion of aestheticism of Islamic art and Kufic script

Analysis of Var Rituals in the Miniature of Passage of Siavash through Fire With no doubt, since the miniature formed in any civilization are rooted in their believes and thoughts of that era, on one hand, and decoding the arts coming from those beliefs is not possible unless knowing those beliefs; in the other hand, this paper tries to study one of the most ancient human beliefs; known as Var Ritual and the reflection of this thought in Iranian picturing art. To achieve this goal, the author has tried to decode Var Ritual in both form and contents terms in past period to the present and studies various viewpoints in this tradition in different groups of people and plans to reach the mental and social theme explain a proper and comprehensive features of the reasons of trusts to this tradition for the reader. It has then classified different types of Var and has chosen "Fire Var" due to its more importance and complication and its reflection has been studied in the myth of Siavash's passage through fire to prove his innocence. The author tries to define the inner side of cultural them of fire, follow the trace of this thought in eastern figuration art and by analyzing the a figure that contain the contexts of passing through fire, Var and Ordeal, recognize the deep effect of mythological insight of fire element. Due to the high status of Ferdowsi's Shahnameh as a historical, literary and mythical piece. This myth has been discussed in terms of imaging in Iranian manuscripts and the legend has been studied in Shahnameh of 1332 AD, remained from Ale—Injou period, Shiraz school. By analyzing the structure and conception analysis, the author has tried to achieve the quality of art's encounter with this belief and its artistic visualization in the art pieces. The result is that, although the roots might have been faded in the lapse of history, its realization in painting arts has survived as a picturing tradition. This tradition in terms of quality of encountering the artist with the color and using color meanings in both better transfer of the concept of Var Mythical ritual and in terms of contract with art and form and figure of fire flames could be subjects of contemplation and revision. The result of this research is that, the Iranian artist, due to his Zoroastrian has received much deeper impacts from the mythological perspectives of fire and those themes are clearer and more organized in the Iranian figurative arts. The author has investigated more than 50 miniatures in Var ritual contexts and has proved the authenticity of his theory on the existence of Var imaging tradition. By the figurative critiques of the figure on one hand and analyzing various faces of fire, on the other hand, the author concludes that the Islamic-Iranian painter has been making a clear distinction between different fires such as hell fire, heavenly fire, divine fire and even the sacred-type fire light and this distinction could be clearly seen in the visual arts.