جستجوی مقالات مرتبط با کلیدواژه "illumination" در نشریات گروه "ادبیات و زبان ها"

Several Middle Iranian writings mention that Zab "spōxt" Afrasiab, thereby restoring water and borders. Some modern Iranian texts ascribe the same act of shooting at Afrasiab and spōxtan of him to Arash. Could the narratives of Arash and the kingdom of Zab perhaps be two iterations of a shared tale, wherein the myth is occasionally ascribed to both a warrior and the ruler of said warrior? Shahnameh scholars have identified various justifications for the omission of Arash's story in Ferdowsi's Shahnameh. We can divide these justifications into two categories: firstly, Ferdowsi's original text did not include Arash's story, and secondly, Ferdowsi's text initially included Arash's story but later removed it during the compilation of Shahnameh. This article investigates whether the Shahnameh presents and narrates the story of Arash the Archer in a distinct narrative style, potentially following the "myth turn" method. The resolution of this inquiry hinges on demonstrating the convergence of the Zab myth and the Arash myth in terms of their underlying motif, as well as substantiating the existence of other instances of transformation and interchange between Zab and Arash in other literary works. By adopting this altered perspective, it becomes plausible to propose the hypothesis that Zab Tahmasab's realm and the tale of Arash are both retellings of an ancient Indo-European myth. This myth revolves around a deity associated with illumination who bestows rainfall and traverses boundaries, thus facilitating the potential for collective migration. Furthermore, the transfer and "myth turn" from Arash to Zab are evident in various Middle Iranian and New Iranian sources and share a comparable historical context.

The philosophy of ancient Iran, known as the " Khosravani’s  wisdom ", is an enlightened thought based on light and darkness in which existence has a hierarchical and skeptical structure. Over time, the connection of this system of thought with the post-revolutionary period has not been broken, but has been reproduced in various forms throughout history. This thought, after being mixed with some Islamic components, has found its way into the epic and mystical works of this period. When studying Iranian mysticism, Researchers have to study the “Mantegh-O-TTeyr”, so clarifying its various aspects in terms of content, cultural fusion, roots of thought, and ideological exchanges and the like to understand This work, followed by a more complete understanding of Khorasan mysticism, will help. The compatibility of the issue of the unity of existence in Islamic mysticism and the creation related to the single point of Ahura in Khosravani's wisdom, as well as the hierarchical levels of existence and light In these two currents of thought, has led to the fusion and connection of these concepts as much as possible in “Mantegh-O-TTeyr”. Influenced by the ancient heritage of Iranian culture and philosophy, Attar has described mystical concepts in the form of allegories and stories. In the present study, we have examined the covert reproduction of the components of Khosravani's wisdom in the " Mantegh-O-TTeyr ".

According to the followers of Gnosticism, this school refers to the ideas and methods that are needed to achieve the most certain and supreme kind of knowledge, and consequently, to acquire true happiness and purification of the soul through intuition and illumination. The school has been popular among many ethnic groups since ancient times and has influenced Islamic-Iranian mysticism over the centuries. Ayn al-Quzat Hamadani is also influenced by the teachings of Gnosticism. Using the analytical - comparative method, the present article first states the characteristics of the Gnostic school and then compare them with the views of Ayn al-Quzat Hamadani. The purpose is to explain and illustrate the common points of Gnostic beliefs and his mystical principles. The common points are as follows: belief in the duality of light-darkness, trust in intuitive knowledge instead of acquired knowledge, believing that the being is a mystery, belief in esotericism, emphasis on self-knowledge to achieve true knowledge, belief in the originality of the spiritual world as opposed to the physical world and finally belief in Homo Deus or “perfect man”.

In addition to transferring a network of holy and abstract notions, the symbolic language of mystical narratives and allegories is full of tangible abstract images which describe the Heaven via earthly forms. Although the mystics have always paid attention to the principle of non-place and non-time with regard to the issue of the worlds beyond the sphere of the moon, i.e. the Angelic World and beyond, in the treatises of the illuminationist philosophers like Ibn Sina and illuminationist mystics like Suhrewardi or mysticism-oriented theologians like Imam Muhammad Qazali, the language of symbols and signs is more efficient than rigid philosophical and theological theories for visualizing the celestial geography and its details so that several parts of allegories of celestial geography are congruent with Quranic verses, Biblical indications and religious as well as national and mythical tales. Although the theory of celestial geography is the place of men of knowledge and philosopher's certainty in religious, philosophical and mystical theories of non-place and non-time, it presents another direction in mystical cosmologies; a kind of geography located exactly at the heart of non-place and its time accords with non-time. The al-Teir treatises existent in mystical literature and some other symbolic treatises have always attracted the truth-seekers intellectually and artistically for offering an image of celestial geography and have invited them to a land which can be North, East or even West in the navigational system of sacred geography.

Between the literary schools of the west and the ideas، latent in the old Persian literary texts، there are many similarities. Rereading these similarities with a new and comparative look can result in many great findings and also expand our knowledge of these two domains. Surrealism is an influential school whose characteristics can be seen in the philosophy of illumination، though they are different in many aspects. Referring to Sohrevardi’s texts on one side and also the manifesto of surrealism and surrealist works on the other side، this study compares the seven techniques of surrealism— 1. Grotesque 2. dream 3. automatic writing 4. madness 5. objective chance 6. ready-made. and 7. Satire— with the ideas of Sohrevardi. The findings show that، despite many similarities between these two، they have different beginnings، ends and also different approaches.

One of the most enchanting genres of Persian poetry is Saghinameh. It is employed to express a variety of subjects. Hakim Nezami has a number of Saghinamehs which are more often concerned with mystical, moral and romantic issues. The purpose of this article is to trace Nezami’s intellectual development in two Saghinamehs, included in two romantic verses of Laily and Majnoon and Sharafnameh. According to social, political and cultural circumstances he raises various subject matters with a mastery of style which is the outcome of his intellectual sophistication and maturity. Sometimes upon expressing mystical concepts he takes his audience to heavens and at times he takes them to the Eden of love and invites them to the impeccable pure world of piety.

Illumination, a perpetual concept in mythology, history and cosmology of diverse populations, is provenance of Hermes rituals in ancient Egypt enjoying various functions of divinity, intellectuality, ontology, guidance and aestheticism. Yet, its function was extensively multiplied in Zoroastrian theology. The conjoint impact of diverse religions of Judaism, Gnosticism, Christianity and ‘Sabeen Mandaee’ played a significant role in the transference of the illumination thought. However, its apogee was reached in Islam on the basis of intellect.An analysis of the literary and mystical writings of Hallāj, Rūzbehān and Sohrewardī, indicate that illumination in these texts stand for the unity of God, the sanctity of Islam’s prophet, the Divine and Human Beauty, ontological status and angelology. The results of this inquiry suggest that the vast disposition of Sufism and Persian literature, relying on the Islamic principles, reflects a totality of ancient savants’ ideas.

After a thousand year, Ferdowsi's Shahnameh is still present in different dimensions of Iranian's lives and other people from different nations. The influence of Shahnameh is not just limited to literature and the creation of literary works or the translation of them. It has always inspired Iranian artists for the creation of the most beautiful literary works. In fact, from the beginning years, the characters, stories and poems have affected the culture and art of Iranians in different ways. In the present article the presence of Shahnameh in some of the most important Iranian arts, including painting, calligraphy, performing arts, and art of tiling has been considered.