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

This paper explores the intersection of Gabriel Marcel’s philosophy and the concept of “Tajalli” (Manifestation) in Islamic mysticism, focused on dramaturgy. Marcel, a Christian philosopher and playwright, provided a unique perspective on existential and religious themes, which this research seeks to integrate with the mystical notion of manifestation, specifically within the framework of Islamic thought. The study addresses how Marcel’s philosophical ideas can inform the dramaturgy of mystical experiences, particularly the manifestation of divine attributes in dramatic characters. This is especially relevant in understanding how deep spiritual experiences, such as Tajalli, can be represented within the theatrical domain. The central question the article seeks to answer is: How can Gabriel Marcel’s existential philosophy be applied to the dramaturgy of the concept of manifestation in a dramatic text? The primary objective of this research is to examine the challenges and opportunities that Marcel’s thought offers for dramatizing mystical concepts, particularly in the context of manifestation. The hypothesis posits that Marcel’s concept of secondary reflection—moving beyond superficial, materialistic contemplation to a more profound, spiritual understanding—can be employed in dramaturgy to create characters who experience and embody manifestation. The research employs a library-based, analytical-interpretive method, relying on a reading of both Marcel’s philosophical works and Islamic mysticism texts. This method allows for an in-depth exploration of the intersections between philosophy, mysticism, and dramaturgy, with a particular focus on the dramatic potential of mystical experiences. The study uses Marcel’s play *Grace* as a case study to demonstrate how the manifestation process can be articulated dramatically. The paper begins by outlining the key concepts of Gabriel Marcel’s philosophy, particularly his distinction between primary and secondary reflection. Primary reflection is characterized by objectivity and scientific reasoning, while secondary reflection is deeply personal, existential, and concerned with the mystery of being. Marcel’s emphasis on interpersonal relationships, embodiment, and the encounter with the “Other” provides a framework for understanding the mystical journey in dramaturgical terms. The concept of manifestation in Islamic mysticism, particularly within the writings of mystics, refers to the appearance of divine attributes in the hearts of mystics. The manifestation is not a mere intellectual understanding but an experiential reality that transforms the mystic’s perception of the world. This paper argues that Marcel’s secondary reflection can serve as a bridge between the intellectual and the experiential dimensions of mystical manifestation in dramaturgy.One of the key challenges discussed in this research is the modern world’s shift away from mysticism and spirituality, driven by rationalism and technical thinking. Marcel’s philosophy addresses this “demystification” of the world by emphasizing the importance of existential inquiry and interpersonal relationships in reclaiming a sense of mystery. In the context of dramaturgy, this challenge manifests in the difficulty of representing spiritual experiences in a way that resonates with contemporary audiences. The paper explores how Marcel’s thought can help overcome this challenge by creating characters who transition from a materialistic worldview to one open to the mystery of being and divine manifestation. Marcel’s dramaturgy is deeply rooted in his existential philosophy. He believed that the purpose of drama is not merely to entertain but to reveal profound truths about the human condition, particularly the relationship between individuals and the divine. His plays often feature characters who undergo a process of spiritual awakening, moving from a state of existential despair to one of hope and faith. This process mirrors the concept of manifestation in Islamic mysticism, where the divine presence manifests in the heart of the mystic through a transformative journey. In applying Marcel’s ideas to the concept of manifestation, the paper discusses how dramaturgical techniques can be used to depict characters who experience the divine in a tangible, experiential way. Marcel’s distinction between primary and secondary reflection provides a useful tool for dramatizing the shift from a superficial engagement with the world to a deeper, more spiritual understanding. Characters who initially engage with the world in a materialistic or rationalistic manner can, through the play, undergo a transformation that leads them to a mystical experience of manifestation. To illustrate these ideas, the paper provides a detailed analysis of Marcel’s play “Grace”. The play revolves around themes of forgiveness, suffering, and spiritual transformation, all of which are central to the notion of manifestation. The character of Gerard, who is grappling with terminal illness, undergoes a profound spiritual awakening that mirrors the mystical concept of Tajalli. His suffering serves as a catalyst for a deeper understanding of his relationship with God and the people around him, leading to an experience of divine manifestation. Through this case study, the paper demonstrates how Marcel’s dramaturgical approach can be applied to the representation of mystical experiences. The characters in *Grace* are not merely vessels for philosophical ideas; they are deeply human figures whose spiritual journeys are grounded in their personal relationships and struggles. This reflects Marcel’s belief that existential and spiritual truths are best understood not through abstract reasoning but through lived experience.The findings of this research suggest that Gabriel Marcel’s existential philosophy offers valuable insights into the dramaturgy of mystical concepts, particularly the concept of manifestation. By applying Marcel’s distinction between primary and secondary reflection, dramaturges can create characters who undergo a transformative journey toward spiritual awakening. This process mirrors the mystical experience of Tajalli in Islamic mysticism, where the divine manifests in the seeker’s heart. Moreover, Marcel’s emphasis on interpersonal relationships and the lived experience of mystery provides a framework for overcoming the challenges of representing spiritual experiences in modern dramaturgy. By focusing on the existential struggles of characters and their encounters with the divine, dramaturges can create plays that resonate with contemporary audiences while preserving the depth and complexity of mystical experiences. Ultimately, this paper argues that integrating Marcel’s thought with the concept of manifestation in Islamic mysticism offers a powerful tool for exploring spiritual themes in the theatre. Through the dramaturgy of manifestation, plays can move beyond the limitations of rationalism and materialism to engage with the mystery of being and the possibility of divine encounter.

There are common elements in the poems of Molavi and Gibran Khalil Gibran, which show the cultural and human commonalities of the two poets. In this article, in a library and descriptive analytical way, elements such as death and life, unity of existence, nature, love, music and listening, perfect human, God, conduct, mixing of good and bad, opposition of reasoning and illumination, words and speech, value of time and ... has been examined and the opinions of two poets have been extracted from their poems and compared. Rumi's and Gibran's intellectual commonalities are so much that despite the difference in language and regardless of thoughts, sometimes the words are also close to each other. The findings of the research show that Gibran and Rumi consider the whole universe to be alive because of that special monotheistic view and seeing God in everything. But discovering this truth requires reaching an enlightenment; An illumination that goes beyond geometric and dry reasoning and logic. In their eyes, all religions have their own value and there is a way to God from every heart. This view has deepened the moral virtues of these two poets; Both of them condemn blind imitation and consider worship for personal gain as the lowest level of worship. They warn a person from self-obsessions, they give respect to the present, regardless of the past and the future. Both of them consider music to polish the soul and recognize it as a noble tool for a person's conduct;

From the phenomenological point of view, in the field of Islamic art. We can reach the deeper and fundamental level of understanding in those art works having the nature beyond the realm of particular environment and time, The elements that represent the relationship between religion and art in Islamic philosophy. The aim of this study is to find traces of difference in the Islamic philosophers’ approach such as (Ibn Arabi, Mulla Sadra Shirazi, Sheikh Shahab al-Din Suhrawardi, Farabi and Rumi) which have mentioned in phenomenological encounters with the holy places.In this article the relationship between phenomenology and architecture of holy places is described and by separating the influenced phenomenology by Islamic philosophy we have pointed out the difference in phenomenological approaches in Nain mosque. In the end, the subject is further explained by recognizing the element of the holy place. The result of the study shows that the phenomenological approach to architecture of holy places from the perspective of Islamic philosophy is a mere emphasis on the most important aspects of the sense of the place in Nain Sir mosque from outside to inside and the triangular union of physical elements, activities and meanings are related and they have dialectical relationships and they form a structure, Which leads to forming a deep inner and dialectical connection between the Nain grand mosque and its observers and witness at the highest level of sense of place.Kew words: Nain Mosque, Phenomenology, Iranian- Islamic Art, Islamic Mysticism

Intuition is one of the most important mystical subjects that many mystics from the third century AH in their works have mentioned its examples and circumstances. This importance is clearly evident in the expression of their intuitive circumstances and discoveries. According to scholars in this field, the concept of intuition, like many other mystical concepts, has evolved over time in the works of mystics. The purpose of writing this article is to study the evolution of intuition in Persian mystical prose texts from the beginning of the fifth century to the end of the seventh century. This research is in the field of theoretical research and descriptive-analytical research. According to the results, after the emergence of mystical terms in the field of mystical literature, the concept of intuition underwent dramatic changes. As they acknowledged, intuition is born of self-cultivation and plays an important role in the evolution of the mystic and is considered one of the most important stages in knowing the truth. It was consistent. In the sixth century, the words observation, revelation, and intuition were used interchangeably, and in the seventh century, they believed in the distinction between intuition and observation and discovery.

The present article examines the literary style of the mystical texts of Sayyid Ruhollah al-Musawi al-Khomeini, known as Imam Khomeini, in explaining and proving the facts presented in the subjects of Islamic mysticism. In this study, it has been determined that the literary style used by him is an argumentative and philosophical style and the method of drawing conclusions from the issues raised is based on the principles of logic. That is, the science of logic has been used as a method and tool for researching the subject and rational conclusions from the introductory propositions of the discussion and the discoveries of each part of the discussion have become the introduction of the next discussions and finally strong results based on rational foundations mixed with religious teachings. He has obtained a Quran. Also, the mentioned literary method has been compared with the style of mystical literature of other Islamic mystics, and where possible, the consistency of the issues, opinions and results has been matched with the method and style of Quranic verses.

 Music in the Orient, including in Iran, has always had a ritual nature, for the sake of God's glory and in the service of the spiritual perfection of man. The main issue of this research is the Iranian music at what levels and in the form and themes and how it is with the mysticism and instrument for the perfection of mankind. Which has been dealt with analytically. It seems that various kinds of music, ranging from the Zoroastrianism to the music of the Khanqahi and Sima Dervishes, to the Qur'anic verses, and Venizets in various religious themes, including the various Ta'azi of the various Azan and the masters, which are in the great part of the music of different regions of Iran, The spirit of knowledge and mystery. As with instruments and songs based on musical systems called Rowdy, many of the characteristics of this music, such as balance, softness and laziness, are present ... which are intrinsic to poetry, have a close connection with mysticism and states and Spiritual themes .

One of the most important mystical themes are the authorities and stages of conduct. The degrees of conduct are the result of mystical reflections and the discovery and intuition of the Quranic truths and efforts of the seeker. These mystical themes in the period of Iranian-Islamic painting, and especially in the thought and opinions of Islamic rulers and ministers in the Timurid and the Safavid periods have had many reflections, according to which a number of books have been written and decorated with mystical themes and narratives. Among the existing books, Divan Hafez has also been painted and arranged. In this study, two intended paintings of “Dance of Sufis” by Kamaleddin Behzad and “Worldly and Otherworldly Drunkenness” by Sultan Mohammad have been studied in terms of degrees of conducts. The present article aims at examining the manifestation of authorities of conduct in Islamic mysticism and its effect on the illustrations of the two paintings in question. The present study seeks to answer the question: How do the two paintings in question, which are illustrated with a mystical theme, manifest the authorities of mystical behavior in the heart and states of the figures? The research method is descriptive-analytical and the data collection method is based on library and electronic resources. The method of analysis is qualitative. The findings of this study suggest that the two desired images in terms of the manifestation of mystical authorities of conduct, that are the manifestations of deeds and traits and intrinsicality of God, have been illustrated regularly and by visualizing these manifestations in Islamic mysticism and its emergence in the process of figurative states from the lowest position to the highest degrees, and bear a hidden message like reaching from the carpet to the divine throne, and finally reveal the degree of Fana Fi-Allah (annihilation in God). Sufism, which is the esoteric aspect of Islam, is distinct from the outward appearance of Islam, since direct spiritual conduct and divine truths differ from the doctrines that appear in terms of a particular human component in the individual order. Islamic mysticism is one of the sciences related to the higher world and the kingdom that sometimes is a manifestation of human dignity and high degrees of humanity, and this dignity can be seen and experienced in many different ways. The great scholars of science and the masters of intuition have stated many degrees of knowledge in the mystical and divine sciences. In fact, these degrees can only be achieved by conquering the physical aspects in the stages of conduct. These aspects appear in various forms such as vulgarity, greed, and so on, and the seeker, to get rid of their chains and straps, guided by the great teachers and high mystics, relies on the invocations that break him free of the world of evil, and lead him to the kingdom of God. He goes through difficult stages and receives authorities during mystical conduct until the essence of his existence passes through the stage and the steps of the kingdom and slowly enters the world of the Lahout. This degree of the mystics’ conduct is called the safe stage, because it embraces chastity and purity, and the humble and modest ones are going to meet their God.Throughout history, mysticism, and especially Islamic mysticism, has played an important role in art and decorations. Painting is one of the decorative arts that in its thematic and even its symbolic designs has expressed an aspect of Islamic mysticism, and with its elements of motifs and colors that appear as a mystical speech, has taken his audience to a journey from the low world of Nasut to the inner world of Lahout. The art of painting has undergone a great transformation with the arrival of Islam in Iran and has followed the path of mysticism along with the mystic poets, since most paintings have followed a theme or a poem in the context of their subject matter and have illustrated the story according to the mystical meaning of the poetry verses, while some of them have only used the mystical themes of their time to depict events. This art with a worldly and colorful appearance is a picture of the imaginary world that tries to reflect the heavenly paradise as well as the Lord's presence by the emergence of mystical content and spiritual states. To this end, the artist, with a certain degree of certainty and the help of mystical sciences, has devised a general and partial composition of the painting, and displays its motifs in pursuit of the supreme goal of mysticism and attainment of sincerity, and ultimately, the degree of the Hagh al-Yaghin. The artist has transformed from the inside during the illustration, and standing in the position of human elements, appears in a mystical state within the picture and refines the details.

Alchemy is an ancient science that has been associated with various sciences, religions and mysticism. In Islam, many mystical prayers and practices have originated from the transcendental sciences, and mysticism has had a great impact on the spread of alchemy among Muslims. The nature of alchemy is in harmony with Islamic mysticism; because they branch out from sacred sources. If the spiritual part is eliminated, which has always prevailed over the tangible dimensions of alchemy and is the main pillar of alchemy, the status of alchemy will be reduced to a lower position among the various transcendental sciences and it will no longer be alchemy. Considering that Islamic art is formed from the rules of Islamic mysticism, it is possible to find similarities and correspondences between the symbols of alchemy in Islamic art, and therefore it is important to know the symbols of alchemy and how they manifest in Islamic art. What are the characteristics of alchemical symbols and what effect have they had on Islamic art? The question the aim of this research, and of this research is to see how the manifestation of these symbols in Islamic art is is achieved in This research has been done in a descriptive-analytical manner with a traditionalist and holistic approach. In order to reach the answer, the symbols of alchemy have been defined and ranked and compared with the principles of Islamic art and mysticism. Finally, it was concluded that the symbols of alchemy correspond and are in harmony with the mystical concepts that shape the most important features of Islamic art. Principles such as monotheistic attitude, circular and spiral movement of motifs, the importance of perfection as the ultimate goal, the reflection of the greater world in the lesser world are seen as common principles between Islamic art and mysticism and alchemy. This point, considering the older history of alchemy, shows the influence of alchemy on Islamic art.

Sultan Hussein Bāyqarā (1505-1468) was the last ruler of the Timurid dynasty. During the reign of 38 years, with the creation of relative calm, he caused the flourishing of arts and sciences. This was possible with the support of his wise minister, Amir Alishir Nava' that stimulated the various branches of art. Sultan Hussein Bāyqarā because of personal interest as well as the policies of his court gave more freedom to mystics and artists, especially painters. The presence of the mystics such as Jami in his court and the formation of many circles with attending of scholars and artists created new attitudes and interest in selected topics for illustrating the books. Part of this transformation can see in the appearance of king in both costumes and the style of royal coronation. Dervish-like presence of sultan at the scene of coronation is a main feature of these paintings. The present research base on a descriptive-analytical method and with using historical documentation study the paintings in which the person of Sultan Hussein Bāyqarā is present and try to show the influence of Islamic mysticism on the royal coronation paintings.The purpose of this study is to find out how mystical issues arose and to identify this effect in the art of Persian painting, especially the scenes of royal sittin  Have mystical schools been able to influence art such aspersion  painting? How did mystical themes appear in the Persian paintings The present study, based on a descriptive-analytical method in a qualitative manner and using historical documents and drawings in which Sultan Hussein Bayqara is present, tries to show the effect of Islamic mysticism on the drawings of the royal throne Earlier, in the field of the relationship between the Timurid kings and mystics and the presence of mystical figures in the court of Sultan Hussein Bayqara, in numerous books and articles, speeches and quotations have been included and the religious policies and attitudes of Sultan Hussein Bayqara have been addressed. These historical documents are summarized by Hamideh Shahidi in an article entitled; The religious policy of Sultan Hussein Bayqara is included. Historians were also among those who rose to prominence during the reign of Sultan Hussein Bayqara. In the books left by him, there are references to the religious tendencies of the Shah. According to him, the ruling religion in Iran and the Shah himself was Sunni Hanafi Islam, but the religious interactions and actions of Sultan Hussein showed a tendency and attention to Shiism, as some consider him a Shiite. But the question is, what effect did the connection and the type of religious view of the Shah have on the themes of that era? And have religious policies influenced the image of the king in the scenes of royal enthronement? Sultan Hussein Bayqara gave more freedom to mystics and artists, especially painters, due to his personal interest and also due to the court policies. The presence and role of mystics such as Jami in his court and the formation of many circles with the presence of scholars and artists caused new attitudes and tendencies in selected subjects to illustrate the book. Some of these developments can be seen in the appearance of the king, both in the cover and in the type of sitting. The presence of the Sultan's dervish in the scenes of the royal sitting is a prominent feature of these paintings.

Painting and poetry, as two arts that are closely related to one's thoughts and interests, are a reflection of common religious beliefs and associated symbols. Painting and poetry are both rooted from the same source and foundation and correspond to the thoughts and ideas of the author. Sohrab Sepehri, a contemporary poet and painter, has a special style that distinguishes his works from others. The issue that can be raised is how to reflect the cultural beliefs and mystical thoughts in Sohrab Sepehri's paintings. This research uses a descriptive method and content analysis to analyze the style of Sohrab Sepehri's paintings. The findings of the research indicate that Sepehri has used mystical ideas such as Islamic mysticism and Zen Buddhism in his paintings and his works are influenced by Zen behavior. Most mystical artists, including Sepehri, have paid much attention to nature, which is one of the obvious manifestations of the creation of the universe.; in this sense, Sepehri sees and feels God next to the tall pine tree in the middle of the night. Sepehri's works also have artistic and semantic themes of worldview of mysticism, including Islamic mysticism. In general, it can be said that mystical ideas and Zen Buddhist behavior have been very influential in the composition and drawing of Sepehri paintings. Also, the existence of mystical and Zen symbols of Buddhism, such as mountains, trees, etc. in Sepehri's paintings expresses Sepehri's naturalism, which is one of the mystical ideas and principles of Zen Buddhism.

1. The study of the influence of Zen thought and Islamic mysticism on the composition of Sohrab Sepehri's paintings. 2. A study of the symbolic aspects of the elements of nature in Sohrab Sepehri's paintings according to Zen Buddhism and Islamic mysticism.

 Research questions:

1. What effect did Zen Buddhism and Islamic mysticism have on the composition of Sohrab Sepehri's paintings? 2. According to Zen thought, what are the symbolic aspects of the elements of nature in Sepehri's paintings?

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.

This article tries to investigate the concept and usage of "Allegory" in Islamic mysticism, literature and art. Art is a vise way to represent the meaning and what are not tangible, which is used by a mystic or an artist. They choose an allegorical language to represent what they have figured out intuitively.Jami has written the poetry of "Salaman & Absal". He chose such allegorical story to convey the mystical and theosophical meanings. About a century later an Iranian painter illustrated the image of Salaman & Absal`s poetry. The relevance of the thoughts of the mystics in the poems and the artists’ work, also the importance of allegory in Islamic mysticism and art, persuaded this research to study the illustrator of the "Salaman & Absal on the heavenly Isle". It may let us know how the illustrator has used allegory in painting this image. The questions of this article are:•What is the role and sign of using allegory in the Salaman & Absal paining?
•What is the role of allegory in the thoughts of Jamie as the poet and the creator of the Salaman & Absal painting?
•Which elements explain the Salaman & Absal painting as an allegorical artwork and which ones explain the main relation with the original story?
"Mysticism" is an intuitive divine and "art" is the materialistic form of the intuitive divines. Mysticism is inspired to enunciate it`s essence and is conveyed through allegory. Imagination function is to diminish denotations from the upper world to sense configurations. Since the revelations of Sufism are further than logical language, there is no language to convey the meaning directly. So, they try to explain their revelations. In Islamic art, in order to achieve the vision stature, an artist should pass the levels of mysticism that a Sufi should pass. Sufi`s opinion on art had an instrumental essence to convey the denotations. The artist who tries to re-present and convey the denotations, shall be familiar with fundamentals of though, conventional principles and common regulations of this realm. Sometimes a speaker or a writer says his thoughts and words undercover and use secret and allegory.
A poet had been used allegory whenever he tried to present a poetry which contained complicated meanings. In this way, although it was hard to conceive it`s mystic meanings, it would be accepted by the public as a comprehensible story. It is assumed that the painter of "Salaman & Absal" was aware of the allegorical thought of the "Salaman & Absal" poetry, so he also used allegorical elements to illustrate the poetry. Several books and articles have been published about "allegory" which most of them explain "allegory" in literature and logics. It is hard to find a text which be perused about "allegory" and its effects on visual arts, especially iranian-islamic painting. It is tried in this article to consider all facts and thoughts which have been perused about "allegory" in past and use them to peruse one specific painting to find the effects of allegorical thought in it.

Ta’zieh a religious play is considered as a dramatic art which color plays a fundamental role, with choosing colors characters will be separated, and this will affect the audience’s mind. In this paper two approaches have been taken in to consideration, the first is to elaborate the mystical basics of color from the eyes of Islamic mystics and the other is to examine the reflection of mystical thought and symbolic conception of color in costumes of characters. Mysticism is indeed one of the richest branches of human thought. The power of influence and the depth of mystical thought penetration in an Islamic society is in a way that no one can deny it. The place of mysticism can be considered as the trust on illumination in the exploration of truth rather than wisdom and reasoning. Most of the mystics revealed their personal experiences by means of linguistic features such as simile, synecdoche, metaphor, amphibology, and symbol, The result of this study which has been done with a descriptive – analytic method, represented that Iranian mystics used color as a coding method and believe it to be the expression of conception, and on the other hand , point to the colors along with the different degree of light and darkness. Some times as the narrator of the above universe and in another time the world, and in the Ta’ziyeh costumes, the color is sometimes the symbol of mystical journey and the hidden world , and sometimes represents an image from the world (along with the degrees of good and evil).

Islamic art moves from the surface of existence to the depth of truth. As the Vicegerent of God, man creates a kind of art to which his divine nature is linked directly. Accordingly, it may be possible to find out the mystery behind various manifestations of Islamic art and the source of unifying principles of art may be identified temporally and spatially. Thus, it is clear that the origin of Islamic art and the essence of forces and principles creating such an art should be related to Islamic ideology. This art crystallizes the internal truths of Islamic inspirations in the universe of forms and since it originates from the inner dimension of Islam, it guides human being to the inner privacy of divine inspiration.For an exact understanding of religious art’s nature, especially Islamic art, it is necessary to pay attention to the principles governing all forms of Islamic art from the beginning. Beauty is one of these principles. Hence, the main hypothesis of this article is whether Islamic art can be considered as the origin of knowledge and spirituality.The method applied in this research is library and field study by which the beauty and Islamic art are explored. Also, the semantic roots of each of them are discussed from different viewpoints. Finally, the principles governing Islamic art and its nature are stated via diagrams. The results of this study show a number of differences between Islamic and secular arts. The main origin of Islamic art should be sought in monotheism, beauty and its intrinsic nature which cause the descent of divine truths to the earth.

The influence of Persian Music on inner realm is mentioned by well known Post-Islamic music theorists. Persian Music is known as a factor affect spiritual growth, moving toward perfection and purification of the soul. Since a very long period, the mystical and spiritual effects of this music have been repeatedly noted by Persian Music theorists such as Safiyeddin Ormavi; And even mystics like Emam Mohammad Ghazzali, have considered the relationship between music and mysticism. Contemporary Specialists such as Sayyed Hossein Nasr have emphasized this relationship too. The so-called “Traditional Music” in Iran, has reached us through oral instruction, and a major part of its sources contain spiritual and mystical aspects and have a close correlation with Islamic mysticism. Perfection, ecstasy, symmetrization and repetition, as well as the inseparable relation of Iranian Traditional of Music with poetry have been among the specifications of the mentioned music that jointed it with mysticism. This kind of music is based on a system called “Radif”. Radif contains “Dastgah” or modes and “Avaz” or songs, each one xpresses specific spiritual and mystical themes and moods. The stages of Islamic mysticism are as follows: religion, creed, wisdom and truth. These are classified in certain Dastgah and vaz. for example, the wisdom stage was associated with Nava (one of the 7 “Dastgah”s in Iranian Traditional Music; and these Dastgahs, along with five “Avaz”es, make a Radif-series of twelve each). Although these effects cannot be issued a general warrant, but the correct selection and usage of Dastgah for the expected themes and moods is instrumental. This article shows how Iranian Traditional Music expresses Islamic mysticism themes. This research is descriptive-analytic. Theauthors have described Islamic mystical themes in Dastgahs and Avazes, as well as the mentioned Music specialty context, and have analyzed the statements based on opinion of authorities. The relationship between this music and Islamic mysticism, with this aim in the article has been the in forming of correct and appropriate usage of qualitative and spiritual characteristics of Iranian Traditional Music and it’s relying on the Radif, based on its mystical themes which can be expressed. The authors have shown that Persian the mentioned Music has a great potential to help expressing Islamic mystical themes and moods. An important point that has been tried to be proved in this article is showing that how this expression was in search of spiritual possibilities of this music; Using material means, pretending to be so and the mere shaking of the head and strange gestures and the use of instruments such as Tanbour and Daf, Pretend forming a kind of music, called “mystical”. In fact, the goal is the same mystical and spiritual ecstasy that has a superior place, comparing with technique. There fore, musical instruments, physical materials and tools concern spiritual and mystical aspects of this kind of music, and paying attention to Dastgah and Avaz states, leads to expressions of Mystical themes. Also, matching Dastgahs and Avazes with Islamic mysticism stages were analyzed that however, some matches seem appropriate, but some are obscure and far from reality.

Islamic-Iranian urban design somehow is the result of applying all fundamental principles of nature. Complex large-scale wholes are assembled tightly from interaction of components in various scales in a hierarchy narrowed down to the natural structure of materials. Therefore in presented article the hierarchy concept is reviewed as one of the major principles existed in Islamic mysticism and applied in Islamic-Iranian urban design. The mentioned principle is one of the most important criteria for achieving urban coherence. In our old cities hierarchy was attached to urbanism in various scales from urban structure to single building architecture, but a revision on contemporary urban design practices show that hierarchy has not been applied comprehensively and only some visual and place oriented structures are remained. In fact, the grid and network contemporary urban structures and plans only have got the dream of urban cohesion, because mid-spaces and communal spaces as two main elements of urban hierarchy are missed in such designs and plans. This paper initially outlines the general concept of these principles; also the mystical concept in Islamic-Iranian mysticism is reviewed. On the other hand, different dimension and aspects of hierarchy in artificial environments are surveyed through visual examples from Islamic-Iranian cities. Eventually, through studying the case of Tehran bazaar region, guidelines for applying these principles in present urban design are delivered.

In the Islamic era, Mausoleums were considered as the most important after mosques. Constructing these buildings dates from the fourth century after Hijrah, coinciding with the establishment of the earlier post -Islamic dynasties in East and North East of Iran. This tradition continued in later Islamic periods in two basic rectangular and Tomb tower types. The significant point about these buildings is the relation between structural and ornamentation characteristics of the decedent person. One of the most important periods of constructing mausoleums in Islamic period in Iran is Ilkhanid period. Since Azerbayjan was the centre of the Ilkhanid dynasty and Mongol emperors were interested in Islamic theosophism, Ardebil region was regarded as one of the significant centers of Sufism. It seems that during this period, a special style of burial architecture was shaped the principles of which were rooted in the Sufisim of Sheikh Zahed Gilani and Sheikh Safi al-Din Ardebili. We can name this new style as the style of mausoleums of Azerbaijani theosophists that combined early Seljuk tomb towers in Damghan And Mazandaran and late Seljuk tomb towers in west Azerbaijan with basic specifications of Ilkhanid architecture and local architecture of the region. Among remarkable samples of this style are mausoleums of Sheikh Safi al-Din in Ardebil, Sheikh Heidar in Meshkinshahr and Barda Turbatsi in the republic of Azerbaijan. Many of these tomb towers such as the tomb of Sheykh Safi Aldin Ardebili underwent basic changes in Safavid period especially in tile works and paintings ornaments and changed its nature of early Ilkhanid architecture. All three mausoleums which wer the subject of the present study belong to tomb towers which are the most common type of tombs in Islamic period of Iran. In terms of overall architectural characteristics, these tombs are influenced by the style known as Azeri. Due to the significant role of mysticism in evolution of mausoleum building tradition, the present study has paid attention to different aspects of the architecture and decoration of these mausoleums and is trying to determine the date of the emergence of this form of architecture in the region based on Archaeological studies to determine different aspects of Sufis mausoleums of Azerbaijan. To achieve this goal, the features of design and architectural decoration of this style is surveyed. The period during which this style was common is the first half of the eighth century and its geographical area is East Azerbaijan especially Ardebil province. One of the important features of this Architectural style is two pre-arch as entrance and exit doors which included more detailed inscriptional ornamentation and geometric frames. But the most specific characteristics of this style that culminated in the mausoleum of Sheikh Safi al-Din Ardebili, is the especial style of decoration in the exterior wall of mausoleums in the shape of Kufi inscription of Allah as continuous prayer (Zikr) of Sufis and especial design of the plan.