جستجوی مقالات مرتبط با کلیدواژه « منطق الطیر » در نشریات گروه « هنر و معماری »

The shrine of Sahl ibn Ali is a religious building in Iran, located in Astaneh, southwest of Markazi province. Sahl ibn Ali is one of the descendants of Zayn al-Abedin. Nevertheless, many historical documents give us some information about this building, but there is no evidence of its exact time of construction. However, according to historical documents, it was built before the Safavid dynasty. The old inscription above the door of the portico has a date belonging to the first decade of the twelfth century and it shows us the name of its architect: Ali Akbar-e Isfahani, and Mohammad Reza as the inscription’s calligrapher. Similar to other religious buildings, it has many historical decorations such as murals, mirrors, and inscriptions that belong to the Qajar and the Safavid eras. Notwithstanding, a few contemporary studies have been carried out about this shrine, but there isn’t any specific research about its artistic characteristics. Since murals have the biggest area among other decorations, this research focuses on them that are located throughout the tomb and include “Gol o Morgh” (the flower and the bird), arabesque, and realistic paintings of buildings. Unfortunately, these paintings and their colors are damaged and faded mainly because of human destruction. The first painting which is located under the roof of the porch includes an inscription and two kinds of paintings such as abstract floral patterns and realistic paintings of birds (Gol o Morgh), which paled and damaged when the building was restored. The inscription that is surrounded by realistic patterns of birds is a verse of Taha (Surah from the Qur’an). According to the basic law of Islam, which prohibits the illustration of living beings in religious buildings, this research aims to answer this question: what was the purpose of using these patterns in this building? In addition, we are trying to recognize the date of these murals and to introduce their properties using a descriptive-analytical method. For recognizing the cause of using realistic paintings of birds besides the verse of the Qur’an, if we refer to the meaning of the verse and try to find the meaning of birds according to their meanings in the Mantiq ut-Tayr (The Conference of the Birds), which is one of the biggest Persian symbolic literary works, we will find a specific link between them that can be an evidence of the artists’ aim to symbolize the verse based on literary works. The second painting is located under the roof of the loggia and it is thoroughly decorated with the Muqarnas which is colored red and has floral patterns. Also, there are many realistic paintings in many unknown buildings. In addition, there are many scripts on the wall of loggia, one of which indicates the date of restoring the building and the name of three artists, but unfortunately, there is no name of the paintings artists. The most interesting and meaningful painting is a realistic painting of birds through the flowers and arabesque patterns on a light blue background located in the portico. The last part of the building with a painting is the space under the dome which includes floral patterns and Gol o Morgh. Also, if we accept the relationship between the inscription and the bird's meaning on the porch and other birds in other parts of the building, we will find a relation between the count of birds mentioned in the Mantiq ut-Tayr and those painted in this building. Furthermore, in this research, we find and present many historical documents for the first time that conform to the dominance of the monastery in the Astanah which means using Mantiq ut-Tayr by artist(s) as a reference for choosing the birds. In summary, as a result of this research, we can say that the paintings are a reflection of the mystical thoughts of the society in Asanah that was under the mystical ideology. The painters may have tried to illustrate and symbolize a verse of Taha (Surah from Qur’an) based on mystical Persian literature works; especially Mantiq ut-Tayr. According to the historical evidence and comparison of these murals with similar cases of the Qajar dynasty, we can infer that these paintings belong to this period. Another result of this research is that there are many different types of quality in these paintings which gives us three possible sources for them. The first possibility is that there were many artists with various skills that worked at the same time. Second, there was a skillful man with many assistants, and third, the paintings were done at different times. The last result of the research could be finding a part of the old monochrome painting in a room above the porch that was covered with plaster. It could be the evidence of more hidden paintings in other parts of this building.

The story of Gol and Bulbul is a romantic story that was noticed by mystics and writers in the Middle Ages of Iran. For the first time, Attar has given an independent story about the love of a nightingale to a flower in Manteqh-o-alteir, and in the continuation of this story, its Sufi aspects are discussed in Bulbul Nameh and Nozhat al-Ahbab. In the analysis of the stories that are written in the language of al-Riyahin and Murghan, the Arabic version of Kashf al-Asrar fi Hokm al-Tayyur va al-Asrar and Ramz al-Riyahin have described the development of beauty in a similar format, but in Bulbulnamehs and especially Gol and Bulbul's Masnavi of Sheikh Abu Ali Qalandar mentioned its Sufi aspect. The stories of the flower and the nightingale were romantic narratives that became the basis of Sufi views, and it was not without reason that the basis of all these mystical texts originated from the Manteqh-o-alteir.The nightingale was a searching bird that was considered to be the home of the soul of a lover, who in an attempt to reach a worldly lover has exposed himself to thorns and fire, and is condemned by other pilgrims of truth in order to go to true love. This research, by examining the sentences of poems that deal with the flower and the nightingale, seeks to answer the question, what is the place of the flower and the nightingale in the mystical literature of Iran in the Islamic period, and how can the characteristic of the searcher be explained? This research, by referring to first-hand literary sources, recognizes the place of nightingale and explores the reason for its widespread use. The research method is descriptive-analytical and the library method was used in collecting sources. The findings show that the Meraj journey of the Prophet became the subject of mystical stories, a spiritual journey that was interpreted by the mystics as a journey through the mortal world and a step in the valley of love and its stages. The sages wrote treatises on this subject to be the basis of Manteqh-o-alteir, the best of which, according to Attar's narration, was written down. Although Ibn Sina's and Ghazali's Risalah al-Tayir and Sana'i and Khaqani's Risaleh al-Tayir were written before Attar, his work was a common chapter of all four works. The only commonality of all the schools was the belief in unity, which is the basis of Tariqat and Sufism, and the schools that were derived from them, and it is well evident in the words of Attar. In Manteqh-o-alteir Sanai and Khaghan regions, the number of Murghan does not reach thousands and there are only a few. And not all types, but those whose place is in the garden, rag and grass, and who love and admire the beauty of greenery, grass, and rhizomes. Their problem is not related to themselves. Rather, they want to choose the most beautiful among all those flowers, each of which shows off and emits fragrance in a way. This feature is also understood and deduced in Rams al-Rayahin and Kashf al-Asrar fi Hokm al-Tayyur and Al-Azhar Ibn Ghanem. In Manteqh-o-alteir of Attar, Marghan like a seeker, a soul in love walks in a difficult valley. The story of the nightingale and her love for the red flower, which is a symbol of worldly love, is the beginning of a love story in Manteqh-o-alteir, which she expands and expands on in the Bulbul Name and Nezhat al-Ahbab, and becomes the foundation of several centuries of Sufi love stories among mystics after her. A flower in Attar's eyes is pink, mortal, and has attributes such as beautiful, short-lived, falling under the feet, sitting with thorns, and in the fire of rose-water, which were mentioned before by poets; But atar's nightingale is sometimes the language and mood of atar himself. But the most obvious feature is the seeking Murqh and the spirit of love. Among other mystics, this attribute is imagined, the nightingale is sometimes a thousand-story teller who speaks the truth, al-Hamdukhan, Abjadkhan and Zandavaf. The nightingale, which is a symbol of attachment to earthly love, according to mystics, must be the soul of a lover who breaks the cage of his life and frees himself from these attachments in order to reach true love. This mystical aspect of his representation in the painting of Gol-o- Murqh is a sleeping Murqh that is observing.

Attar Neyshaburi is one of the greatest mystics in 6th and 7th A.D. he is also known as the pioneers of Persian storytelling. Furthermore, he has profoundly affected both the mystics and storytellers after him. He has used anecdotes and stories in his works as an instrument to explain and confirm the mystic concepts and elucidate the stages to the righteous way. In this regard, any research should consider attar both as a mystic and storyteller. The present research has scrutinized the content and the narrative structure of Mantiq-ol-Tayr as one of the samples of fictional works of Attar. Mantiq-ol-Tayr is the most widely recognized work of Attar. Some adaptions have been extracted from some parts or the whole of his work. This research aims to explicate the dramatic aspects and alternatives for dramatic adaptation from it. Analyzing some of the present adaptations indicate that most of the adaptions have been faithful, whereas a successful adaptation should consider the background, time, and other related considerations related to the addressee and the targeted one.Using library resources and a descriptive-analytical method, the intellectual content and narrative structure of Attar's works have been analyzed in this paper. Then, some of the narrative considerations related to the adaptation of this work have been dissected for the stage through concentering on the content and theme of Manteghotteir. Eventually, some of the dramatic adaptations have been interpreted and some suggestions have been provided for dramatic adaptation. These suggestions will be probably able to mull over similar works.

Although semiotics originated in linguistics, it was quickly adopted in the arts, literature, and social sciences. Semiotics is highly efficient at interpreting works of art because it sees them as a cultural system and investigates the hidden codes and concepts in them. The purpose of this study is to look at the decorative patterns on the Roshan Abad building in Gorgan from a semiotic standpoint, as they appear to be inspired by Attar's Manṭiq-uṭ-Ṭayr poem's mystical allegories. The motifs of the Roshan Abad building are then assessed, as different animal motifs can be found among the decorative patterns of this structure, which are much more prominent symbolically than other motifs. The relationship between the intended motifs and mystical symbols expressed in Manṭiq-uṭ-Ṭayr is first explored and analyzed from a semiotic standpoint for this aim. This is a descriptive and analytical study that uses a qualitative data analysis approach. The data on the sample under study is gained by direct and descriptive observation; however, the data on historical motifs is gathered through documentary and library approaches. The findings reveal a strong link between the patterns and mystical symbols found in Attar's Manṭiq-uṭ-Ṭayr. Designers' perceptions of these topics were embodied in these motifs, implying their mental imagery.

Miniature Painting is one of the most important Iranian artistic genres, which is closely tied with literature, and in the history of Iranian art, some literary texts have been illustrated in this manner several times. Among these, one can refer to the book 'The Conference of the Birds'. This text, also known as Mantiq al-tair, is a celebrated literary masterpiece written by poet Farid ud-Din Attar, commonly known as Attar of Nishapur, a poet of the 6th century AH / 12th century, who lived in Neyshabur and presents a mystical and preaching attitude in his works. In the late 9th / 15th century, Behzad, a painter of Herat School, illustrated some of the Mantiq al-tair’s stories, one of which was 'Son's Mourning for the Father's Demise'. This painting depicts a group of people taking a coffin to the cemetery, to bury the deceased; so the work is a scene of public mourning, and it can be referred to as a Mourning Painting. The painting is semantically and figuratively important in the history of Iranian art. The paper at hands reviews this Mourning Painting based on Greimas' semiotic square and the generalization of twofold oppositions. At the end of the twentieth century, Greimas tried to provide a clear definition of the process of producing meaning in three levels (deep, middle and surface structure). According to Greimas, the analysis of a text or a language should begin with the deep structure, i.e the abstract data level, and proceed to the surface structure, i.e. the level where meaning and objective data exist. This paper has taken a descriptive-analytical method of research and the results indicate that here: 1) the textual relations seek to express 'sadness – happiness' opposition and explicitly display the people's Islamic religion. 2) On one hand, the deep structure reveals all relationships in the entire structure and on the other; it increases the audience's accuracy. 3) Through raising constant- variable duality, the forms of human figures, animals, vegetation and objects seek to oppose the mourning tradition in the past and that time (late Timurid period). But the movement from the detail towards the whole can reveal the implicit meaning in this work of art. For example, the flag, as a component, refers to a major discourse (mourning) in a religious, cultural and social situation, and the grave refers to the class inequality as well as the abstract concepts of rich and poor. 4) Using culture-nature duality, the composite structure in the up/down direction of the painting depicts the funeral and burial traditions, while the left/right one poses material-spiritual duality. Nonetheless, through illustrating peripheral and decorative elements such as tree and birds, the center-periphery direction of the painting suggests the cancellation of inside-outside duality. 5) The structure of distance, as a symbol of time, rests on the private-public duality. 6) Finally, upward/downward movements of the colors highlight the heaven-earth duality as a symbol of magnificence and grandeur of the other world.It could be argued that the painting is interpretable through the semiotic system of producing meaning in relation to oppositions and relationships based on the semantic square function. The painting encompasses them all by means of expressing the structuralism of life-death duality. However, the artwork contains more than one sub-dualities and oppositions (such as happiness-sadness, constant-variable, nature-culture, plurality-singularity, material-spiritual, private-public and heaven-earth). The painting is remarkably powerful in attracting the viewer to the immaterial world and death, is a symbolic concept used therein that highlights the mystical aspect of the text against others (epic, for example). The most important feature of this work of art is its successful depiction of visible tangibles and helping understand some conceptual opposite dualities. By means of these dualities and associating the meaning to each one, the painting has transcended the mere representation of text and highlights the solidarity of the people with mystical beliefs in an attempt to approach a cultural-social significance.

Painting is among the oldest means of expression noticed for its significance since time immemorial, and artists, at different epochs of times, have employed this art form to express the views and ideas of their own or the community. While serving literature through the art of book illustration and also by the grace of its unique features and the philosophy with which it is woven, this art has been a platform for the manifestation of the artist’s genius and has provided a medium for the expression of thoughts and outlooks of the Muslim artist. In addition to the artistic value of the images, these works, just like any pictorial document, contain abundant material on the social, political, religious, etc. conditions of the society where they were created. The bonds existing between literature and painting and their concomitance becomes more controversial when the painter goes beyond sheer painting of romantic poems, epics or scientific texts and tries to illustrate the abstract mystical concepts. Due to the distinctive character of such types of literature and the complexity involved in the translation of its concepts into proper images, painters of different periods have paid little attention towards the depiction of such notions; for that reason, illustration of such literary genres are rarely found in Iran.Of the remaining literary texts of this genre is Attar ‹Conference of the Birds›. Brimming with texts capable of being transformed into pictures and enjoying a rich symbolical ambience, Attar ‹Conference of the Birds› is one of the exceptions among mystical texts that has attracted the attention of artists. The Metropolitan Museum’s ‹Conference of the Birds› is one of the few, rarely illustrated manuscripts of this text. Due to the unique artistic quality of its paintings, this manuscript is considered as one of the most valuable illustrations surviving in Iranian painting and is of course of prime importance in terms of research. Thus, the methodological analysis of the aforesaid pictures within its historical context may open up new possibilities to study the cultural characteristics of its era.The current study focuses on the analysis of one of the Kamal al-Din Behzad’s fine paintings called ‹Shaikh Mahneh and the Villager›. Belonging to the Herat School of miniature, the painting was created during the adolescence of the artist at the time of the reign of Hussein Bayqara. It is one of Behzad three paintings in this priceless version of Attar’s ‹Conference of the Birds› which has received little attention to date.On this basis, and given the importance and value of the aforementioned manuscript in general and this painting in particular, conducting of the present study deems necessary. Through studying the prevailing religious and mystical traditions of the time as well as the religious ideologies of the artist, the author has attempted to analyze and identify the symbols used in the image and their association with the text.To this purpose, the painting has been divided into two sections based on composition. A list of substantial similarities and differences of the elements employed both within the image and the narrative text has been devised followed by a discussion to prove the theoretical assumptions right or wrong. The research has been conducted through descriptive-analytic method and data collected through desk studies. It primarily questions the artist's adherence to the text and then surveys the origin of the symbols and visual elements used therein. The questions include: will the translation of a mystical text into an image necessarily result in a mystical image? Do the personal, religious beliefs of the painter play a role in the selection and use of symbols? Has the artist, taking note of the social and political conditions of the society, made use of special and sometimes controversial symbols to convey a particular concept? The answers to these questions and more of this sort, as well as various assumptions attributed to each symbol that will be discussed in detail, helps the reader to understand the miniature better. Hence, in addition to the abovementioned points, this study examines the effects of religious beliefs and social conditions related as well as the neighboring cultures in the selection of symbols and their drawing. The results indicate that the artist's doctrines and religious views has a major role in creating this image and each of the elements and symbols used therein is in line with and completely related to the text. Moreover, it is rooted not only in Sufi beliefs but also the artist's religious ideas as a Sufi-oriented painter.

Sheikh Sanan is amongst one of the oldest stories in Persian literature which is also considered as one of the well-known narrations of Atar’s Mantegh al Teyr. This allegoric story is full of theological concepts which painters from various eras especially during the Timurid era have contributed in its illustration. In this story, the poet expresses his thoughts and views through literary techniques with the use of storylike elements and imagination. Understanding and comparing the mutual elements of the text with that of the illustrations and the influence that these two features have on each other will ultimately cause an enhanced perception and criticism of the images in hand. This paper follows a descriptive and analytical methodology and by analyzing a number of the paintings of the story of Sheikh Sanan in the Herat school, the relationship between the scripts of the poet with that of the illustration techniques will be studied upon. This analysis confirms that the painter in addition to narrating the story by perceiving the desires of the poet and applied concepts, seeks to illustrate such notions. In all, there is a constant harmony between the paintings and the story which is all due to the creativity and novelty of the painter.