جستجوی مقالات مرتبط با کلیدواژه "تصوف" در نشریات گروه "هنر و معماری"

The relationship and interaction between Islamic art and mysticism and Sufism are debated by researchers in the field over the past few years. While traditionalists see mystical and nativist meanings behind various forms and types of Islamic art and regard the relationship as something substantive and metaphysical, critics reject it due to inattention to historical facts, and some have even rejected any connection between Islamic art and mysticism. Due to the necessity of taking historical and social approaches to the matter, and the existence of various pieces of evidence indicating the relationship between Islamic art and its artists and Sufism, both viewpoints need revision. In this regard, the present study aimed to look at the causes and motives prompting Iranian artists to be interested in Sufism and create works related to mysticism by considering the artists as tangible components and the main sources of artistic creation (compared to merely metaphysical factors). Therefore, taking basic and qualitative research methodologies, the question was analyzed using historical, descriptive, and analytical methods, and the data were analyzed inductively. The findings showed that the inclination of some Iranian artists to mysticism and Sufism was evident in the crossing between Sharia and Tariqa, and the natural art-mysticism intersection, some Islamic clergymen’s sharia-based prohibitions against some art types, mystics’ tendency to cultivate art, the inspiration of mystical teachings in the creation of artworks, the influence of Sufi rulers and wealthy groups in creating artworks with mystical themes, and the effect of political and social turbulences like wars on making people turn to the followers of Tariqa were six major motives prompting Iranian artists to welcome mystical and Sufist ideas.

Sufism- as an important and complex phenomenon in the history of the Islamic world- has played an important role in the spreading of Islam in India, and Deccan was accepted as a cultural and civilization subcontinent of various sects. The main issue of the present study is to investigate the development of the Chishti and Ne`matollahi doctrines in Deccan. This research aims to answer these questions by using historical research method based on description and analysis and relying on library studies. Why despite the existence of various Sufi cults in Deccan they became inedible and pervasive, what their roles and effects were. The findings of the present study show that with the formation of Delhi monarchy and the establishment of the Chishti, the elders of this cult gained a great deal of spiritual influence and they were one of the influential political and social groups in the Bahmani period, as Bahmani sultans sought to take this position for themselves. However, the early elders of Chishti refused to pursue political affairs and accept governmental positions on the basis of their principles, and these factors contributed to the growth of this doctrine, after Ne`matollahi 's influence in Deccan and completed their development and extension there. These doctrines, furthermore the Sufi activities, had an important role in the spread of Islam and the promotion of Persian language and culture.

Tekyeh Moaven al-molk is a historic Tekyeh located in Kermanshah city of Iran. It was built during Qajar era as a Shia mourning space. It was registered as National monument of Iran in 1975. It is well known for its exclusive tiling, picturing Islamic era events as well as Iranian kings. In this research, one of the tiles of the mentioned architectural heritage entitled “Majles Dervishan” related to the 14th century AH, has been studied. This tile depicts a scene related to Dervishes and their symbolic tools, ancient sports equipment and shoemaking tools in a space similar to a Zurkhaneh. Thus, apparently not so related elements are gathered in this picture. The purpose of this study is to interpret the semantics of drawn elements, discover their relationship and the reasons for performing this painting. The research method is descriptive- analytical and the date is collected through library studies. The results of this research show that the profession of shoemaking is one of the guilds considered by Ajam sect. The ritual of chivalry has long been associated with Sufism, meaning that the behavior of ancient athletes has always been based on the principles of the Fotovat customs. For this reason, the painting of Majles Dervishan is depicted the Zurkhaneh space, which is very similar to the Sufi prayers and is related to Sufism.

Monasteries or “Khaneghah”, as the center of Iranian- Islamic mysticism and Sufism and a sacred building, with various social, cultural, artistic, economic and political functions, is a representation of Iranian culture and civilization. The Ilkhanid era is known as the period of the expansion of Sufism and the construction of monasteries. At this time, monasteries were considered a social, cultural, and sacred sanctuary that replaced schools, and in addition to asceticism and worship; other activities took place. In this article, it is attempted to study the various influential factors in the emergence and growth of Sufism and monasteries during the Ilkhanid period. Indeed, the study examines the impact of key factors in the process of expansion and growth of Sufis in the Ilkhanid period. Since the role of Sufism and its influence on the buildings of the monasteries of this period cannot be ignored; the study of the architecture of the monasteries is significant in order to study the factors that led to the spread of Sufism during this stage in history. The research method of this article is descriptive-analytical and the method of collecting information is accomplished by studying library resources and also by observing and analyzing the role of monastic buildings in the spread of Sufism in the Ilkhanid period; furthermore, the cultural and artistic factors of monastic buildings have been studied. The results show that the architecture of monasteries and their artistic structure are closely related to mystical and Sufi ideas and the study of the artistic structure and symbolic elements of the monastery shows its direct relationship with the spread of mysticism and Sufism in the Ilkhanid period. In the art of Islamic architecture, many symbolisms have been the source of mysticism and Sufism. The cultural and artistic events of the monasteries were influential in the growth of Sufi followers during the Ilkhanid period, and the spread of Sufism in this period established a link between mysticism and Sufism and the art of the Ilkhanid period.

Research objectives:

1. To investigate of the influence of the most important factors in the emergence and growth of Sufism and monasteries in the Ilkhanid period. 2. To analyze the architecture of monasteries and examining its impact on the spread of Sufism during the Ilkhanid period.

Research questions:

1. How is the architecture of the monasteries and their artistic structure related to mystical and Sufi ideas? 2. What effect did monastic buildings have on the spread of Sufism during the Ilkhanid period?

Sheikh Shihâb al-Din Turân -Poshti is one of the less well-known scholars of the seventh century and contemporary Saadi. he has been featured in various fields of Islamic sciences in Persian and Arabic. his hometown turanposht is one of the oldest and most well-known settlements in Yazd. among the works of Turân-Poshti there is a book called al-Mu'tamad fī'l-mu'taqad, written in Persian prose this book is worthy of attention in terms of literary features and verbal issues. this essay, written in an analytical descriptive form, briefly describes Turân -Poshti biography and explains about his motivation for writing this book and its structure and content. In this paper, in order to illustrate Sheikh writing style,We have quoted parts of al-Mutfamad that have received a verbal note.and we have described them.In general, the study of the works of the Sheikh shows that he has had a profound sense of belonging to Sufism, and this has also been influential in his theological views.

The relationship between realism in Tabriz second school of miniature and the Islamic mysticismNeda Hooshmand Mofrad, M.A., Graphic design, Alzahra University, n.hooshmandmofrad@gmail.comAbstractSometimes, realism in Islamic art is linked to mysticism. Realism in painting, which is the result of focusing on affairs, It creates in mind that there is the truth behind affairs. In fact, this type of focus emphasizes some kind of experience, Mysticism is also important for experience and knowledge. On the other hand, mystics see beauty in everything because in their viewpoint, everything is in the best form it could have been and is thus, very close to truth. The closer something is to the truth, the more beautiful it is and the painter seeks to portray this beauty; So it tries that illustrations are close to reality.Assuming that the Safavid painter is influenced by the common thoughts of his time; so it can be argued that he most probably creates his art works on this basis and the prevailing realism in the paintings of this period is derived from the principles of Sufism. Empiricism and emphasis on knowing creatures lead to the truth of the world. The painter seeks to portray a beautiful illustration inspired by the perfection of divine creation.Realism is a characteristic of the Safavid paintings. The painter of this era makes efforts to take a specific moment and recreate it on the canvas with so complete details as if it is a live object. Since the artists of each epoch are usually influenced by the popular mindset of their time, Sufi and mystical beliefs and ideas, that flourished and spread during Safavid rule, left their impact on the art of this era more than ever before.This research investigates the effects of the Islamic mysticism on realism in Safavid miniature. Mysticism emphasizes on experience and the knowledge arising from it. Sufis claim that images are endowed with multiple semantic layers and that concentration on a single subject, leads the audience to the knowledge of its spirit. On the other hand, we observe the advent of a new form of realism in Safavid miniature: admiration of the terrestrial world as a manifestation of the divine world. It is an effort to illustrate a passing moment with the help of words and pictures, representing things in the minutest details to an extent that they seem to be alive. Since the subject under study revolves around changes in miniature within a historic period, data are collected through a desk study. Finally, the analysis is conducted through a descriptive-analytical method. The approach taken in the paper is a philosophical-mystical one.The process in which, as explained, Islamic art, as one of the manifestations of Islamic civilization, is derived from the dominant thinking of the existing culture and civilization and influenced by the prevalent philosophical doctrines.The results suggest that the works of Islamic art are created, inspired by the dominating thoughts in of a particular era. Following, and even under the influence of, his contemporary thoughts, the Safavid miniaturist produces work of art. Arguably, the realism prevalent in the era’s miniature emerges from the principles of mysticism, empiricism and emphasis on the knowledge of all other things than God in order to know the truth. Making use of realism, the Safavid miniaturist aims to reach the ultimate beauty God has endowed the existents with. The necessity of research in this area is determined by the fact that in most of the existing sources of Safavid art, it has been emphasized that over time, art and especially painting have been influenced by alien culture and the way of art painting has thus changed. This attitude is acceptable and the writer's goal is not to reject it. The intention is to address the other possibilities available to redirect the art of painting, and they should also be evaluated.Keywords: Tabriz II School of Miniature, Islamic Mysticism, Realism, Sufism.

Abstract Mausoleums have always had a prominent status in human being’s culture and civilization and constitute a large part of development of architecture through the course of history. Formation and identity of most of these buildings depend on religious figures and or local and regional high-ranking persons. Through the Middle Ages, a majority of society tended to Sufism and governments supported Sufis. This brought them a very prominent social and political status. This process needed places for growth of their social identity and social convergence. It seems that architecture of Khergheh Building which is the research subject of this paper is among a series of mausoleums including Shah Nematollah Vali, Sheikh Abdol-Samad Natanz and Sheikh Ahmad Jam Bastam and all of these monuments are related to Sufism which were widely accepted by the society of the then time. Actually, this mausoleum belongs to Seyyed Dāvūd Fahlavi, one of the Sufis of 8th century Hegira in a village named “Khergheh” at the vicinity of Firouzabad Road to Farāshband. It neighbours the cemetery of that area. As the locals highly respect this mausoleum, it has kept its social and cultural identity alive. This complex enjoys a central domed building along with several chambers attached to it. The plan of the building is criss-crossed and the dome chamber makes it available to reach other spaces in all four directions. One of the prominent features of this monument is Kārbandā decorations on the ceiling of the dome. This paper tries to answer two questions: 1) what are the nature and function of this mausoleum with regard to the regional history and culture? 2) Regarding to its architecture specifications, when was it constructed? This research attempts to find logical and methodological answers and tries to clarify the architectural structure and explains how the tetragonal spaces in the first floor have been transformed into hexagonal spaces in the second floor. In addition, this article aims at understanding its cultural and social identity in respect to its function in different Islamic period. The paper enjoys research historicalanalytical method. The required historical data was gathered through library studies. Then the data was documented and the plan of the building was prepared through field surveys and studies. As there exists no comprehensive study on the relation between the architectonic structure of this building and its function through different Islamic period, this paper is of paramount importance. Based on the findings and with respect to its structural characteristics and comparative studies, this structure dates back to the 8th century Hegira. In addition, this building has been originally constructed based on the Sasanian Chārtāghī’s and local architectonic specifications. Then later in parallel with ritualistic and social identity of the region, it has been transformed into a ribat (Khanqah) and mausoleum.

Kabud masque belongs to Abul al – Mozaffar Shah Jahan from Turkaman Agh Quyunloo tribe. The build ing was finished in 870 AH by Jan Beyg Khatoon (Ja han shah’s wife). There are various plant and geomet ric features and inscriptions in the masque. The masque inscriptions are mostly created by two Kufi and Tholth writing and are related to the surrounding illustrations and give them harmony. In this research, we have tried to study the impact of mysticism and Sufism among Hurufiye religion (faith) on selecting contents of inscriptions and writings. The research method is descriptive _ analytic. The library method and on-site visiting have been used for data collec tion. The results indicate that azure blue has the most variety in the inscription basis and white in their con text. These two colors are symbolic in mysticism and Sufism. Choosing the kind of Shamseh features and mentioning mystic apothems show the impact of mysticism and Sufism on the form of ornamentations of the important buildings in Qara Qoyunloo era. At last, we have concluded that the religious changes in the 9th century like Horufiye beliefs within mysticism and Sufism have had the main compact on the form and contexts of inscriptions and features of the building. The Blue Mosque, as the most important work of Qaraqouyunlu dynasty, has a special place in the art of tile and inscription of Iran, which technically contains the most delicate works of mosaic tiles and includes a wide variety of tile designs. Also, in terms of design, it has interesting religious concepts, and in terms of inscription, it has a variety of lines embed ded in novel writing methods. According to the au thors, the blue color in this building and other build ings indicates that the Muslim architects want to as cend from the earth science and to get to the superior space. The blue color recalls the breadth of the clear sky. The white color that was used most for the Quranic inscriptions was among the colors that were recommended to be used by the Prophet. This color is in the references and symbols of Sufism and mystic features. In summary, the two colors of azure blue and white in Islamic art are symbolic and have been considered a lot. With regard to the cadre for the inscriptions, it should be noted that in this collection of designs, shades are used more than other designs. It should be said that the selection of the role of the candle in this collection is not a coincidence. This role is rooted in the deep mystical concepts of Sufism such as the pre-eminence of God, the light and the sky.

The Iranian art has different courses and in one of these periods, "the mystical period", this art is very influenced by Islamic mysticism. Islamic calligraphy, as the noblest and most sacred art of the Islamic world, is more than any other art associated with Islamic mysticism. And in all its features and content mirrored the mystical symbols and the social influence of the mystics. The inward look and acceptance of spirituality for letters and words in this art are influenced by Islamic mysticism. This research first initially identified three levels in the mystic approach to letters, then, by explaining its Qur'anic origins and its effects on the Islamic calligraphy, shows evidence of this effect. Evidence such as the type of writing of letters and Words, such as "الف", "م", "لا" and "الله" (“La”, “M”, “A” and “Allah”). To show that throughout history there has been a strong link between Islamic mysticism and calligraphy art.

The story of " Laili and Majnun" is the most famous of the Mystical literary works and has been regarded about Iranian painters. This story first fully ordered by "Nizami Ganjavi" and formed as part of Khamsa has repeatedly painted. In the Timurid and Safavid miniature works, "Majnun" always have been dressed in blue. In this paper, the cause of use this color is considered for review. The main goal of this research is that to prove Persian Painting works for understanding and analyzing the concepts of color, especially, awareness of the fundamental principles of color theory in Islamic and Iranian culture is essential. Theoretical Foundations of Iranian intellectuals are the only solution for understanding colors effects. The illustrations of the story of "Laili and Majnun" show the painters to choose Majnun’s cloth colors did not completely follow the text. Because the story is not clearly describe Majnun's dress color. Story that has been regarded artists, the emphasis that Majnun was nudity. Accordingly, Iranian painter has been drawn Majnun naked in the desert. But in this pictures, painters also cover the blue fabric has used. The painter is inspired from another source. Ultimately, have proved using this color based on Sufism beliefs and to introduce Majnun as the seeker through mysticism and divine love. In the present study, research method is descriptive - Content analysis and data collection is data library method

Khaniqah in the history of Iran، especially in pre-Safavid era، was among the most frequent building types. Nevertheless what we know about its architecture is almost nothing. Identifying the khaniqah architecture requires a vast multi-disciplinary research، which would cover all of the Islamic lands through all of the periods of their histories، based on the most related Arabic، Persian، and Turkish primary sources and also the all remained relics of Sufi and religious architecture. This research is about the Khaniqah architecture in its formation phase، in the first Islamic centuries in its birthplace Khurasan (in Rob’e-i Nishapur). Since the second (AH) / eighth (AD) century، Sufis gradually inhabited in buildings other than mosques. It was about the fifth (AH) / eleventh (AD) century that a certain building type dedicated to Sufis was called “khaniqah”. The khaniqah’s content، or its organization، was established by the fifth century Sufi saint Abu-Saeid Abul-Khayr in Khurasan. This organization had some basic elements: from human elements to ritual and ethics. Khaniqah contained various functions: from public functions، such as preaching sessions، to private ones، such as isolation for worship and Sufis ceremonial dance (samā’). As the khaniqah organization، khaniqah building had a variety of open، semi-open، and closed spaces. The open spaces − court and roof − was dedicated to the public functions; the closed spaces − gathering hall (jamā’t-khāna)، cells (hujras)، and the sheikh’s cell (sawma’a) – to the private functions. The semi-open spaces – iwan (suffa) and arcade (riwāq) – were used for semi-private or semi-public functions. The gathering hall، as required by its functions، was a domed hall. The court was located in the center of khaniqah with an iwan in one side (usualy opposite to the court entrance). The gathering hall had access to the court، directly or through the iwan. The cells were located around the court (in its four، three، or two sides) and the entrance was in the middle of one side.

The Mongol attack to Iran in the early seventh century AH, no doubt, was one of the most terrible and destructive historical events which had many consequences in different areas. Mongols after the entry into Iran and looting and destroying many cities and buildings, during the time were slowly absorbed in Iranian culture, like the Seljuks, and began to renovation of cities and repair the ruins. This theory (historical and cultural continuity of Iran) is attractive for Iranian scholars and also has valuable position to explain the exceptional situation of Iran between Islamic Countries. But According to Hegel wild tribes after the invasion and occupation of civilized societies, at the stage of history are influenced by the culture of the conquered people but do not lose their original culture and lifestyle and Keep it in their mind and heart as background. Therefore, the above theory is interesting, but it also has objections, because it ignores the effects of foreign elements on Iranian culture, art and architecture. This article with research in historical documents, evidences and two important examples of Il-khanid period architecture in Iran as the absent element of historical and architectural research aims at showing the Mongol's culture influences on Iranian architecture. This case (Mongol's influences) is also absent in the historical studies about in Iran Iranian architecture in the Il-khanid period. Therefore after the explain of the historical story of the Mongol invasions and their rule in Iran with regard to the close relationship between artists and Sufism, Some religious and ritual aspects of the Mongol's culture and expansion of these aspects in Iranian's society was studied. We know there were many similar aspects between Mongol's shamanism and Iranian's sufism, therefore this similarities were a good and logical reason for expansion of sufism in the Il-khanid period in Iranian society. No doubt the expansion of sufism had a definite impact on the artists, architects, craftsmen and their art works. Because of this impact on the artists and architects of Il-khanid period, the art and architecture works of this period have a special character or quality. This special quality gives them identity which differentiate them from other art and architecture works in the past periods. By studying the features of Il-khanid period architecture and two important examples of this period buildings in Iran (Sultaniya dome in Zanjan and Alishah mosque in Tabriz) Mongol's role on the formation of these buildings was demonstrated in a symbolic perspective. At the end of this article, after reviewing the opinion of Iranian and foreign scholars in an analytical approach, we know Il-khanid architecture has been greatly indebted to Iranian past architectural traditions and the main distinction can be applying the massive and unprecedented scale in the creation of buildings. This Large-scale change in the buildings of this period is the major Mongol's influence on the Iranian architecture that can be due ritual and symbolic aspects of this aggressive people's culture which is referred to those in this paper for the first time.

In order to discover and enlighten the systematic relationship and structure between a religious thought and its reflection in an architectural body, this research studies Shah Wali Complex in Taft. Applying interpretive-historical research method and, simultaneously, using logical-argumentation method, analyzes the feedback relationship of "political and religious encounter with Nimatullahi Sufism" and "physical changes of Shah Vali's complex". The research process in the first phase includes finding the historical climaxes and crisis in encountering with Sufism and Neematollahi house. These historical turning points have the potentials to affect the body of the complex. In the second phase, based on the findings of the first phase, history, main position and reasons to construct the architectural buildings in Shah Vali's complex during four periods are retrieved and  analyzed. Major achievements of analyzing the corresponding relationship of Nimatullahi thought and Shah Vali complex include identifying the primary pattern of monastery's design and its similarities with complex making in Samarkand during Tamerlane period, knowing the history, main position and the founders of building the mosque, Safa ivan, Shah Nimatullah Vali's tomb, Agha bazaar, and also proving that in Qajar dynasty the old Tekiya of Sufis was demolished in order to build a new one for Moharram rituals and mourning.

The significance of mysticism can be traced in relying on illumination rather than logic and reasoning to discover the truth. Theoretically speaking, mysticism means having belief in understanding the truth and practically speaking it means leaving superficial customs and resorting to suffering. Mysticism among Muslims is exclusive to mystics who have changed names over time. Sufi is someone who sees nothing but God. In addition to that, wool in Arabic is called “Suf” and those who wear wool clothing choose staying away from materialism, a simple life. Mystics believe that the scholars of the way should come in the type of form and color is suitable for their condition and status. In this Article, 14 kinds of costumes have been introduced for most of the mystics. Also some of their crowns and the way they are supposed to be worn and also their colors and patches and the meaning of their symbols, have been defined. Also, there has been an attempt to analyze the colors of the clothing of the mystics and their colorful symbols and the reasons for using these garments and colors will be studies. As far as the costumes are concerned, the mystics have no special conditions in clothing unless the sole purpose is to stay warm or cool, not showing any bragging, not to be pretentions, not to seek fame, staying away from materialism, elevation to higher degrees of humanistic aspect, not paying attention to the type of clothing worn, staying away from the multiplication of the pieces of clothing, getting close to God, a reason for being humble and staying away from pride and corruption. Their garment is symbol of cutting away for worldly attachment. Of course showing off by the type of material texture and the size of the garment is also of importance which should be ignored. The color of clothing should not be the reason for preference of one person over another. It is a reminder that Prophet Mohammad never declared wearing such garments as an official slogan. In Islamic- Iranian chromatology, the spiritual observations of the mystics in hustle and the bustle of his life appropriate with the level of knowledge and the purity of his soul are different and these differences in colors are clear. For example, wearing white garment is the symbol of peace. Black (color) belongs to those whose heart is the treasure of secrets. Dark blue in clothes is the most common color among the mystics which has the simplicity of white and the perfection of black. Green is the accepted and lively color which contains the illumination existence of mankind and it is an image of divine nature. In this direction, this article wishes to shed more light on mystics and the pious in Islam, their costumes and the colors thereof. The author has used from books and narrations of mystics for better understanding of the issue and then through content classification, the mystics, costumes and their colors will be touched upon

During the Islamic period of Iran except for public complexes including buildings as Bazaar, reservoir, Caravansary, etc. there were burial complexes that occupy a special place in the architecture of the epoch. These complexes were first built as the burial ground of a famous political or religious figure and along the time other buildings such as mosque, Madreseh (school), monastery, Caravansary, pilgrimage house…. were added to them. In a general typology, we can divide these complexes in two religious and political types. The king’s complexes are from political types and Sufis or Shiite complexes are from religious types. Religious types are probably the first burial complexes that were made in Islamic period of Iran. These complexes have always been noteworthy to people as the shrines and have developed during centuries from single tombs to magnificent complexes. Imam Reza complex in Mashhad and saint Masoomeh complex in the city of Ghom are the best examples of this type. Sufis complexes made by devotees, are less important than Shiite ones, and in the past centuries were regarded as social services institutes that provided food and resort for poor people. Sheikh Abdolsamad Isfahani complex in the city of Natanz and Bayazid Bastami complex in the city of Bastam are examples of this kind. An important point about these complexes is their fundamental effect on the establishment and later expansion of many Iranian cities throughout this period. The fundamental role of these complexes in the development of architecture in Islamic period necessitates research into the fundamental beliefs, which influenced their emergence and development. The history of construction of the complexes and the effective factors in their appearance in the Islamic architecture of Iran are questions with no exact answers so far. Innumerous attacks to Iran in the Islamic period during which many buildings were destroyed, is one of the most important factors which have resulted in this condition. Process of shaping of burial complexes has not been steady during the Islamic period of Iran and diverse political periods has had vicissitude. According to relics of Islamic period, the oldest complexes belong to the late Saljughid period and accordingly we must search in Saljughid and pre Saljughid periods about factors of shaping of these complexes. The present paper tries to identify the factors which were influenced the establishment and later development of these complexes through surveying literary and historic books. The book surveyed in this paper is Asrar Altovhid, an essay by Mohammad Ibn Monavvar from 6th century Hijrah that describes the biography of Abusaeed Abilkheir, the great Sufi scholar of the 4th and 5th centuries ater Hijrah. According to the findings of the research, the beginning of these complexes in Iran, from Saljughid period, is likely related with Sufism and especially with the mystic views of Abusaeed Abilkheir. Due to the key role of mysticism in the development of this innovative architectural form in Iran, different aspects of the relationship between mysticism and the emergence of burial complexes has also been touched upon.