جستجوی مقالات مرتبط با کلیدواژه "illustration" در نشریات گروه "علوم قرآن و حدیث"

The Holy Quran is a unique and unrepeatable masterpiece which has been under the care of researchers because of consisting magnificent meaning which in an unparalleled construction is available for everyone. All of the meanings of this Sacred Book are at the peak of fluency and eloquence, and one of its embellishment methods is artistic illustration for every event and hereby the addressee reaches to a better understanding and comprehension of the massage of The Quran. So it is necessary to study the Illustration of Quranic contents and explain the ways of applying these illustrations in instillation of its steering meanings. The present research with a descriptive-analytic approach intends to investigate, after explaining the general meaning of illustration and the characters of Quranic illustrations, the expressional modus operandy of artistic illustrations and structural elements in Surah Taaha as a one of instruments of describing human and moral doctrines. The results of our inquiry will show that the most eminent of constituents of the illustrations in this Surah consist of allegory, metaphor and imagery. The Holy Quran also makes the pure abstract meanings concrete by conceptual depicting so that they get more clarity in the mind of addressee and consequently his mutual reaction with the Holy Text becomes better and concrete. It must be mentioned that, in this direction. The Holy Quran doesn’t rely only on a specific kind of depicting but also uses different and various kinds of pictures which in the same context are in mutual reaction.

Quran has been and will be the guide of mankind throughout history. What guarantees this efficiency is the miraculous aspects of the Qur'an, which includes all dimensions and aspects of the Qur'an, and the overall outcome of these components ensures the miracle and effectiveness of the Holy Qur'an throughout history. This research has emphasized the miracles of the Qur'an in the two interpretations of "Al-Kashif" by Mohammad Javad Mughniyeh and "Fi Zhalal al-Qur'an" by Seyyed Qutb with a comparative method. After paying attention to the fields of interest in writing the two commentaries and the approach governing them, the different aspects and components of the miracles of the Qur'an were analyzed from the perspective of both commentators. The results indicate that both of them presented the miracles of expression under the cut letters and both believe in the illustration of the Qur'an, although this is the basis of the work in Faizal; At The aspect of non-discord and occult news and legal miracle are the same, but Mughniyeh has expressed the characteristics of legal miracle more clearly. In the issue of scientific miracles, both commentators believe that human sciences should not be imposed on the Qur'an. Although the two commentators are different in religion and the foundations of interpretation, but because they both have a social-educational approach, with the aim of persuading the new generation, they have stayed away from Israel and avoided mentioning controversial issues.

Visual expression is one of the features of the text of the Qur'an and its verses are covered with literary images, and this image is a sign of the simplicity and comprehensibility of the expression of the Qur'an. Sayyid Qutb, a contemporary Egyptian writer, chose the image as the best means of interpretation, and in the form of his theory of artistic imagery, he believes that the Holy Qur'an has made the best use of the rule of an image in expressing its purposes. Based on this, the present study tries to study the structural features of the verses containing the conversations of Hazrat Shoaib with the audience, using the descriptive-analytical method and using library resources based on the principles and components of illustration of Seyyed Qutb's theory. Examining their discovery and appearance in the artistic illustration of Quranic verses in order to explain the beautiful aspects of the miracle of the Holy Quran more than before. The most important findings of the research indicate the fact that in these verses, examples of these components can be found based on Seyyed Qutb's theory, such as the element of phonetic structure, emotion, religious thought, reality, language style, repetition, adaptation, visualization, recognition, movement, dialogue, etc. He found that by creating sensory and imaginative images that are full of movement and dynamics, he transmits thoughts and meanings to the reader in a sensory way, in order to stabilize the meanings

Illustration is a rhetorical and artistic way of expressing content that is used in various texts. Artistic creation is one of the most effective ways to convey content. Most of the research in this field is mainly limited to single images and how to create them,while it seems that it is possible that single images will be upgraded and a single and large image will be created from the construction of several individual images together.In this study, an attempt has been made to answer the questions of how textual images are constructed in the Qur'an and what effect do the constructed images have on the transmission of concepts? Examination of various examples shows that three types of fabrications are possible for weaving images in the Qur'an: images made in one verse, images made in several consecutive verses, and images made in several non-consecutive verses. In this research, relying on the descriptive-analytical method, various aspects of making textual images in the Qur'an have been studied. First, the image in each of the weavings was examined, and then, based on the data analysis,an attempt was made to determine how a large textural image is constructed by juxtaposing two or more single images.

The use of metaphoric literature and the creation of beautiful images is one of the key features of the words of the Quran and hadith specially Nahj al-Balaghah in expressing the deep and perfect concepts of religion. Among the issues in which imajinative illustration is evident, is ‘death’ and human’s relationship with it. The present article is aimed to discover the image of human’s relationship with death, in Nahj al-Balaghah. This study is a library study with a descriptive-analytical method. The results of the study indicate that: Nahj al-Balagha depicts death in two general images; in the first one, death is considered as a dangerous and harmful creature such as a hunter, fisherman, and murderer, storm, arrow, and things like that, which may have a surprising and difficult encounter with human at any moment. In another image, death is resembled to a leader of a group of travelers who can move the group to a certain destination by his sudden command. By doing good deeds, which are like dressing in piety, one can have not just a harmless, but also a welcoming death. And on the contrast, by following the inferior wishes limited to the material world, he will be negligent of death and a surprising sudden death will attack him.

With the advent of the lithography industry in Iran during the Qajar era, a host of books were published. In this period, the addition of illustrations related to the contents was one of the needs of publishers. This paper tries to investigate the level of correspondence between paintings of arch angels (Raphael, Michael, Gabriel and Azrael) in the lithographic print of the book “Ajib al-Makhlough wa Gharāeb al-Mojoudāt” (1264 AH version) and Quranic verses and Islamic traditions using a descriptive-analytical method. The findings suggest that the illustrator of this book, Aligholi Khoei, has drawn the figures of these angels for their visual beauty inspired by artistic learning one the one hand and for adaptation with Quranic verses and sources of narratives from a religious approach on the other, though in some cases they are influenced by social norms and beliefs. However, the analytical review of illustrations based on existing reports demonstrates that Khoei is largely influenced by Islamic traditions so that religiously inspired illustrations cannot be considered as the only source of artistic imagination.

Language is collection of phonemes that human use it for transferring his mental concepts. Infect phonemes representing sentiments and emotions and its musical functions help the creators of literary work to transfer his mental meanings better. Koran used all its language capacities to transferring its divine message and its words were somehow which has made the basis of understanding and speech effect. In this study the researchers has research on Naze-at sura phono semantically by descriptive – analytical method. The study shows that the smallest part of phoneme in this sura contains meaning and the tones of verses are based on meaning and according to purposes and styles of verses change. The letters which have more violence are more than the letters which have less violence to show hard die of unbelievers and resurrection day. The phonemes section of this sura changed from open to close by changing the way of speech.

Plato and Mulla Sadrā have never used the terms opinions but we may conceptualize symbolism in the ground of their philosophical thoughts with platonic and Mulla Sadrā's views based on narrative principle and with respect to their philosophical foundations. Based on the significance of ideology theory and quality of Plato's intended imaginations, it may be concluded that a symbol is in imperative thought which has got a kind of specific resemblance based on "enjoyment" relation from the transcendent reality of narration. Pondering upon the quality of narration emanated from Mulla Sadrā's philosophical views, a symbol may be considered as an issue which is narrated from a symbolized issue as its reason and a is regarded as a companion identity and a real shadow-like similarity of its imaginations. Utilizing a philosophical analysis method for explaining the nature of symbol in these philosophers' views, a new reading to the position of art in their philosophical system is presented which is based on the analysis of their ideology to the nature of symbolism and is based on a kind of separation in arts according to their imaginations as (non)-symbolic. Such a reading could be considered as the basis for influential art in the epistemic elevation. A symbolistic analysis of these two philosophers' thoughts shows that while their intellectual foundations diverge from each other, there is convergence in their views on symbolism and its expansion in the area of art which depicts a kind of development from the philosophical dimension to the position of art.

Tune of words and music of sentences in the Holy Quran are not the same and they change in accordance with their meaning and intentions. Type of letters, combination of words in the verses and their increase and decrease have an important effect in tune of the verses. This musical reflection will affect readers„thought and emotion and also sometimes it illustrates a live and dynamic image in his/her mind. One of the most prominent samples in the phonetic relation and its connection with images is the verses related to The Day of Judgment. Rising and falling the tune of words imply on warning and fearing in this kind of verses. Function of music as one of important items in illustration of the Quranic verses has been discussed in this paper with regard to some verses related to The Day of Judgment. This study indicates that music plays an important role in illustrating spiritual state of anyone who is going to hell, the quality of showing the images and the speed of showing scenes.

In illustrating literary manuscripts that has aways been carried out under the influnce of the religious beliefs of the artists and their patrons, the hadiths narrated by the holy Prophet (P.B.U.H) and his Ahlul-Bayt (AS) have widely been inspired from. The artists’ approach toward the content of such hadiths has resulted in certain manifestations of analogical, symbolic and abstract processing in the narrating hadiths through paintings which are used to transfer Shiite beliefs through a visual language. The main sources of illustration for the Shiite artists are the hadith collections like Oyoun Akhbar Al-Reza that particularly deals with the virtues and miracles of Imams (AS). One of the illustrated manuscripts which has dealt with Shiite beliefs is Falnameh Tahmasebi in which some illustrations attributed to Imam Reza (AS) have been used. The illustration might have been drawn form the hadiths collected by Sheikh Sadough. Having explored the life of Sheikh Sadough, the present research sets out to critically and descriptively study the characteristics of Razavi illustrations in the Falnameh and the way the hadiths drawn from the collection of Sheikh Sadoogh have been reflected in. According to some studies, the Shiite Art has, inspired by the pure teachings of Shiism, tried to reflect the extraordinary efforts of religious and artistic elites of different time periods.

Technical image or artistic illustration is one the methodsthe beauty of a literary work. The various and numerous storiesof the Quran, possess rhetorical inimitability. Sensory imagination and the phenomena of visualization play a great role in the beauty of the art of the Quranic stories. Thestories of the Quran do not define art and beauty and don’t abandon the man confused in the realm of the theoretical debates of aesthetic. But it shows the true beauty and call viewing the pure souls and beautiful eyes.This research is a descriptive – analytical work intends to examine artistic features in the story of Adam that is the first story. On the one hand, we should review the elements of story and artistic images used in it andon the other hand, therecitative miracleshould be reviewed.

Illustration in speech field is the art of portraying concepts with the help of words and phrases with specific methods carried out to increase their efficacy on the addressee and a better and faster conveying of the material. This art is employed beautifully in Nahj al- Balāgha، which، by making use of nature، human being، living creatures، etc. in the vertical and horizontal axes of speech، has created beautiful and effectual images. On the horizontal axis، that is in every single sentence، simple images like beauty، magnificence، greatness، etc. have been displayed. Different warm and lively images colored with various rhymed prose، rhetorical forms، symbols، allusions، stretch of imagination، and spiritual elements are available in this axis. Sometimes، even without using a specific form، novel images have been created or the very Qur’ānic images have been directly employed. On the vertical axis، i. e.، the general structure of speech، with which reasonable and logical communication is made between the components، novel and matchless images have been created.