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

As an art that has always served powerful kings and patrons in the pre-modern period, painting is a medium for representing phenomena influenced by dominant discourses. This art, which was popular in art workshops in different parts of the Ottoman Empire in the tenth century AH, such as Istanbul and Baghdad, was a platform for producing various literary and artistic texts with ideological functions. One of the texts created during this period in the city of Baghdad was the book "Thawāqib-i Manāqib" by Abdul Wahab Hamedani. This article considered a unique feature, which is presenting a particular image of Rumi, which is not evident in other illustrated texts. This book produced in a city that was not the capital and therefore not under the direct supervision of the court; on the other hand, it was religiously opposed to the central government; But inside it, a manuscript produced that has no royal patron and at the same time was given as a gift to the court and the king himself. These whole events bring an idea to mind that a work produced on such an occasion is about a particular subject. Probably in a confrontational or interactive action with the government and a particular discourse that should explore. For this purpose, this study analyzed the effect of dominant discourses on the depiction of Rumi's character in Thawāqib-i Manāqib. The whole study based on answering this question: 1. What is the subject of the paintings of the Thawāqib-i Manāqib manuscript, prepared in the Ottoman Baghdad school, and from what position Do they speak? And 2. how is the arrangement of visual elements, and how is the ideological message expressed in these works? The present study conducted by descriptive-analytical method, and the method of data collection was library studies. The statistical population of this research is the paintings of the Morgan Library of New York version of the book Thawāqib-i Manāqib. The paintings of this book were 29, of which 15 drawings were selected non-randomly and judiciously as study samples of the study; the criterion for selecting these samples was the active presence of Rumi in them. The information obtained in this study was analyzed based on Fairclough's theory of discourse analysis. Finally, it concluded that the position of the book's supporters and its producers and illustrators are a mediation between Shiite and Sunni discourses and the subject that the book tried to address. Rarely, Rumi's extraordinary and undeniable role in establishing interaction between the two discourses, and in this way, several visual or thematic effects are used, each of which emphasizes this mediation and its qualities somehow. In this book, the Prophet (PBUH), the Sultan, and the Caliph represent the Sunnis, and the Imams (AS) represent the Shiites, and they are depicted in different spaces next to each other artists have formed intertextual and inter-discourse spaces with different audiences. By looking at it, they find themselves in it. In these paintings, Rumi is sitting and standing with the Prophet (PBUH) as well as with the sultans and nobles; He deals with saints, he has an everyday life with ordinary people, humans and animals resort to him, he deals with natural animals and supernatural beings, he both dies and can bring the dead back to life. Slowly These mediating features have given Rumi's life and, consequently, this book an intertextual and interdisciplinary quality that is in line with a higher goal. The lofty goal of this mode of representation, as noted, is the link between the Shiite and Sunni discourses in those historical contexts. At this historical juncture, Rumi sees, as an institution that does not have enough power for absolute domination, the only way to remove division and find an ally. In the context in which Rumi is trying to establish himself, two poles have no common point other than a single origin (the Qur'an and the Prophet (PBUH)), and only by introducing a third and neutral character can one remain between them. In order to bring in a third party, no choice can be better than Rumi because in addition to establishing this relationship, it will have a more significant function, and that was to legitimize him. Finally, it can be concluded that all of these, along with the mentioned visual features, somehow carry the ideological message of Rumi's sovereignty and his rightness. The transcendental composition of the paintings, Rumi's position in each painting, the ratio of his dimensions to other people, the whole image and even the ratio of his head to the body, the use of symbolic colors such as azure, the use of special coatings appropriate to each person's social status, including visual elements some artists created clever works to emphasize Rumi's degree, his influential role in the Sufi, Shiite, and Sunni discourses, and his place with everyone.

Molana's Masnavi is one of the classic precious texts of Dari language. The concepts of this work are multi-dimensional and can be researched from different angles. Hence it's antiqued, but not old and repetitive after centuries. What tools can be used to find the secret of this dynamism? Can traditional eloquence reflect the artistic dimensions of Masnavi to convey the concepts and contents? In this article, Masnavi's Ney Nameh is analyzed from the perspective of the text coherence principle and relying on the cohesive tools by Michael Halliday and Roghayeh Hassan, regardless of literary industries. In this article, and using the above tools, it is expressed how Molana intertwines and ties all the elements together in two levels of form and content. The elements of reference, omission, conjunctions, and also, in the area of returning, the repetition, semantic contradiction and semantic inclusion are the most effective tools in conveying concepts in Ney Nameh and they show Molana's beauty of speech clearly. This article represents that in order to understand Molana's secrets of achievement in conveying the meanings and concepts, we should use new semantic tools in the study of Masnavi to find new angles of the literary and mystical masterpiece.

Prayer in Persian poetry is a sign of my effort to connect with the Creator. The poet appreciates the valuable opportunity to speak to God through prayer, and regardless of rejecting or accepting prayer, he considers himself indebted and thankful to God. Prayer in the poetry of the greats of Persian literature, especially in the four pillars and pillars of this precious literature (Ferdowsi, Rumi, Saadi and Hafez) has a real, celestial and Qur'anic origin and is the result of the grace and mercy of the God of the world who blesses the servants and It gives the opportunity of prayer and the life-giving nectar of prayer to its special people. That is why prayer in the works of these pillars of Persian literature is a matter of pain, need and lamentation, and it is a kind of need and supplication, and in fact it is the key to opening. This article will try to answer the question that the difference between their way of looking and their poetic style - according to their essence and nature - in the discussion of prayer and supplication, despite having a common ultimate goal which is to transcend the human soul and psyche, to the extent Extent and strength to be answered.

The link between literature and art in Iran has been an unbreakable link for a long time. Persian literature with its epic, mystical, romantic, and religious themes has always been an inspiration for Iranian painters and a source of works for many illustrators and painters. In the meantime, the poems of Rumi as the leader of mystics in Iran, although they have a special place in classical literature, they have not been illustrated until now. For this reason, at the beginning of the last decade, the Academy of Arts started editing this valuable work for the first time and displayed the artist's encounter with Rumi's poems to present the sonnets of this outstanding poet in a new way and through the lens of Another should be checked. Based on this, the purpose of the present study, which relies on Gerard Genet's theory of, Transtextuality, examines the relationships of a text with previous texts in the form of Hypertextuality, intertextuality, Sermetextuality, paratextuality, and metatextuality, explaining the relationship There is a parallelism between Shams' sonnets and the works of painters in Shams Farhangistan book. Therefore, the main question is: What is the reflection of verbal texts in the visual works of Shams Farhangistan's book based on Genet's theory of Transtextuality? The results of the research show that the visual text has come out of the verbal text, and the first text can sometimes be seen explicitly in the second text, and sometimes it can be seen metaphorically and implicitly, or in the form of allegory, substitution, and hypertext. It is identification. One of the main commonalities of the two texts, in which the type of relationship is explicit, is the connection of the second stanza with the image of a bird surrounded by flowers and the eight-pointed star in Mr. Eskandari's work; Placement of part of the first text (poetry) in the second text (painting) by Mr. Jabari's calligraphy; And the connection of the fifth stanza with the three birds drawn in the work of Mr. Esadi, which shows being enclosed in a cage between the parallel lines at the top and bottom of the frame; Cited. Sometimes, the type of relationship between two texts is established in the form of an implicit type, such that in Eskandari's work, the use of elements with the same color spectrum on a blue background, which is caused by the placement of a star The eight feathers on it are a sign of the sky, reminding the second verse, also the metal objects used in the lower part of the image are influenced by the fourth verse. In some cases, the artist-painter has also established the semi-textuality by establishing a longitudinal relationship with his category and genre. In addition, the research method in this study is descriptive-analytical and its data was collected by searching library sources, observing works, and interviewing.

Ignoring a religion with a religion. In terms of the reason for Didgah Ha and the theory of this is different from the door that his opinions are very strong. Benabrine Ansheh, what is the ba ann ruh hustem de grayish, apparently similar to the dir de cent Farhangi, ideological, different religious use, and especially the karbird aql dar din, miprdazd and har do dr yak dasten, bai taye, all agree Deen, Irfan and Gharayshat Batni; And they are in opposition to the intellect of Garyi, which is superfluous, and there is a carbarden in it, with a limit and a limitation of reason and inference, dar din Hestend, and the quest for real knowledge, ra dar erfan, and esoteric roshi, not ur words and philosophies, but also deductive reasoning. In the name of the main reason for the goal, where is the pessimism of its inequality and its semblance of animosity, Maulana and Rudolf Atto, and the “Experience of Irfan. With reference to readings, where is the article, where is the article on the field of Kotah Ba Rosh descriptive-analytical in it, where are the results of this article between Mawlana Ba Mazlo and the participations of the entire existence of a dard and a diagnosis, and this is an original experience. , Bayan Napdhiri, Ser Boden, Bey Makani and Bey Zamani, Majzoub Kanada Boden, Hebat Naki and Boden Emotional Astkeh, Mawlana's Poetry and Philosophy Mazlo and Atto Mushakri, May Bashed.

The issue of human homelessness is an important issue in mysticism. The most important problem of the mystic man is to move away from the original homeland, and his effort to return to the era of carpentry is the subject of all mystical books. Because of his beliefs, Aref cannot live like other people, so he often turns away from people. Considering that there are different types of homelessness and in Masnavi the mystic homelessness in different forms such as homelessness in the world, homelessness of the soul in the material world, homelessness among the apparent in this study examines homelessness among the apparent from Rumi's point of view. . This study shows that Rumi, as a pious mystic, describes the life of the great mystics in seclusion and solitude and considers the presence of the common people as a plague for conduct because often the public and the apparent do not understand the actions of the mystic and in addition When they make wrong judgments, their speech is also useless and sometimes harmful for the mystic, so solitude and traveling and away from people is a good way to cover this homelessness.

Public culture, with its many elements, is inextricably intertwined with human life and public culture. Great poets and writers, in various forms, consciously and unconsciously, use elements of popular culture to create images or convey their thoughts and goals to readers. In this research, with an analytical-descriptive method and by referring to the theoretical sources of research, an attempt has been made to analyze some of the popular beliefs of the spiritual Masnavi book regarding eating etiquette based on sources and references. One of the topics of public culture that Rumi has mentioned in Masnavi is discussions about etiquette and eating traditions. The research realm of "eating" includes a wide range of topics: jurisprudential and theological eating, social and cultural patterns of eating habits, table etiquette, stories and allegories of eating, beliefs and taboos related to mystical foods and thoughts and beliefs. As eating. "Eating" is one of the most widely used words in Rumi's works to show all material and spiritual realms, and other words from his family have helped the poet to reflect these meanings. Daily activities and needs for each person, especially seekers.

Liminality is a concept introduced by Victor Turner in the field of anthropology. According to him, myths can be designated as liminal phenomena which are neither here nor there; they are betwixt and between. Bill Viola is a video artist who has represented universal and pivotal dualities in his work, in a symbolic manner. The questions that this study tries to answer are as follows: What is the relationship between archetype and liminality? How can we explain the relationship between Viola’s works and Islamic mysticism with regard to liminality? In the present research, an attempt has been made to explain the threshold theory and its relation to the archetype, then makes an effort to analyze and comparison Five video arts of Viola considering mythological criticism; with an emphasis on liminality theory. The article is descriptive-analytical and library data collection method has been exerted. The results of the research indicate that Bill Viola, familiar with Islamic and Christian mysticism and influenced by his childhood memories, has created video works that can be considered corresponding to the concept of liminality and archetypes, they lead the audience towards this ceratin apprehension.

The position and prominence of women in any society is associated to the attitude of the time and individuals towards women. The place of women in Iranian society has always has been controversial. In the meantime, the works of poets can be a mirror for understanding the situation of women. By considering the fact that the worldview of every poet, writer, or thinker is influenced by the intellectual, social, and cultural memory of the time and place in which the person exists; Sanai and Rumi are prominent Iranian poets whose works reflect the political, social and cultural conditions of their life. The issue raised in this study is the transformation of the position of women in society during the time of the mentioned poets. This research is accomplished by a descriptive and analytical method and relies on library data. Findings show that from the Sanai to Rumi periods, a unique social and cultural change took place that led to the enhancement of the status of women and this has been effective in the depiction of women's personalities. Sanai has a mainly negative and critical view of women and rarely cares about her position as a mother and in the service of her religious attitude towards women; nonetheless, Rumi considers woman as a manifestation of divine beauty; furthermore, in Rumi's poetry, woman is the soul, earth, and essence, and she complements creation and this distinguishes the manner in which the female figure is depicted in the poetry of Sanai.

1. Corresponding the image of a woman in the poems of Sanai and Rumi. 2. Analysis of effective factors in drawing the image of women in the period of Sanai and Rumi.

Research questions: 

1. What are the differences between the female image in the poems of Sanai and Rumi? 2. What factors were involved in drawing the image of women in the period of Sanai and Rumi?

Symbolism as one of the tools of pictorial expression and transmission of concepts has brought many works of Iranian painting closer in form and meaning. On the other hand, the use of symbol is also considered as one of the literary arrays. In the process of composing, what attracts the poet's sensation, emotion and imagination more is the creation and the space and scope of nature. Iranian artist creates in a symbolic atmosphere; Taking advantage of the valuable context of Persian poetry and literature, the Iranian painter has not sought to represent tangible nature, but to represent symbolic effects. Manouchehri Damghani and Molana Mohammad Jalaluddin Balkhi (Shams) are among the most prominent poets describing nature in Persian literature. The present study seeks to analyze the symbolic effects of nature in poetry and painting in the fourth and seventh centuries AH with a descriptive and analytical method. The research findings demonstrate that the use of lexical range in the poems of Manouchehri and Rumi shows that their poetic world is a green world filled with symbols resembling nature. The symbolism of nature depiction is beautifully visible in the poetry of these two poets and the painting of the fourth and seventh centuries AH. The invention and use of symbolic elements in Iranian painting in the mentioned centuries does not bear an independent form, but an evolutionary process in form and content based on Persian poetry and literature of this period with poets such as Manouchehri and Rumi and under the influence of naturalistic imagery influenced from Chinese art.

1. Recognition of the symbolic effects of nature in Iranian poetry and painting with emphasis on the poems of Manouchehri Damghani and Ghazals of Shams. 2. Comparison of the elements of nature from the point of view of Manouchehri (mere naturalist) and Rumi (Shams).

Research questions: 

1. What is the place of the use of symbolism in the poems of Manouchehri and Rumi and in the paintings of the fourth and seventh centuries AH? 2. How did Manouchehri Damghani and Rumi acknowledged nature in their poems?

Beauty is one of the most important concepts that has long been considered and studied in the field of philosophy and mysticism. One of the most prominent literary and mystical texts that can be referred to in order to perceive the truth of beauty is the Masnavi Manavi of Rumi which beholds the most central foundations of aesthetics in the form of the most accurate allegories. In this literary artwork, there are several anecdotes, each of which is a clear example of artistic beauty. In the meantime, the legend of the Zat-al Sovar Castle is one of the most famous stories of this work. In this research, the place of theological and knowledgeable concepts of art and aesthetics within this story is considered and analyzed. Moreover, the mentioned analysis is accomplished via a descriptive and analytical approach and dependent on library sources. The findings of the research indicate that the story of Zat-al Sovar Castle or the fortress of Hoosh Roba is one of the very deep and perplexing stories of the Masnavi that beholds ​​extraordinary and heavenly denotations. The Zat-al Sovar Castle is the world of divine manifestations and the expression of luminous forms and instances in tangible forms. These numerous and beautiful motifs can, on the one hand, veil and hinder the understanding of the truth, and at this stage restrict and halt the seeker from tangible forms and borrowed beauties, and has to power to indicate true beauties and to provide the means of human liberation and salvation. Understanding true beauty is possible only through attaining self-knowledge and perceiving with the inner eye. For man, through the external senses, perceives only the world of sensations, and through the esoteric senses he enters the sea of ​​truths, and it becomes impossible for one who remains within the limits of the external senses to comprehend the truth of belongings. Hence, Rumi emphasizes the aesthetical features and motifs of appearance.

1. A study of the theological concepts of art and beauty in the Masnavi Manavi 2. An analysis of the theological concepts of art and beauty in the Story of the “Zat-al Sovar Castle” .

1. What is the place of theological concepts of art and beauty in Rumi's Masnavi Manavi? 2. What is the effect of the story of “Zat-al Sovar Castle” in conveying the mystical concepts of art and beauty?

The theories of aesthetic schools of philosophical schools each have defined the concept of aesthetics and explained its perceptional process. In the aesthetic theories of the Western philosophical schools, by the epistemological analysis of the concept of beauty, have considered aesthetics as tangible and subjective. But in Islamic theology we see a distinct approach to the question of beauty and its perception. In the theological attitude, the truth and the existence of man and the world around him is regarded as the manifestation of goodness and divine glory. The unified universe is beautiful and beauty is not an epistemological and subjective matter, but an ontological and objective one. Art and beauty for the mystic poet like Rumi is an experience in which beauty is not a specific concept but a unique living truth that brings man closer to the essence of truth and a means of understanding and perceiving Rumi's truth, ideas and theories about beauty is merely a religious and Islamic; moreover, art and beauty are dominated by a divine theology.In this research, which has been accomplished via library method, by citing and quoting Masnavi and Shams Tabrizi's sonnets the mentioned feature is regarded upon and summarized. The results of the study imply that Rumi's perception of beauty is not sensual pleasure but a way to guide and connect to the source of existence, goodness, and aesthetical beauty. For him, the discussion of art and beauty is outshone by a divine theology. Also, Rumi makes it challenging for anyone with no humanity to be aware of the place of goodness and beauty in the universe, but also considers it impossible to know the true and aesthetic existence on an equal footing, which is in fact the indicator and manifestation of God in this worldly universe.

Research aims

1- The examination of Rumi's views on beauty in Masnavi and Shams' sonnets. 2- To Study the concept of beauty and its perception in Islamic theology.

Research questions:

1. What are Rumi's conceptions and interpretations of the aesthetical beauty in Masnavi and Shams' sonnets? 2. How is the issue of beauty and its perception expressed in Islamic theology?

Translators often translate rhetoric as rumor, semantics, sermon, or eloquence. Romans called oratory and orator as rhetorica and rhetor respectively. As the beauty of an architecture is the product of the exquisiteness of its different parts, rhetoric and aesthetic aspects of poetry is also the result of the aesthetics of its structural units, including the attention to the phonetic structure and the use of techniques and methods that enhance the aesthetic effects of the vocal of speech more and more. Jalal ad-Din Muhammad Rumi (Mawlana)’s skill in expressing concepts and using language is shown in his sonnets by utilizing poetic creations and artistic processing as well as various figures of speech. The mastery of Mawlana on language has a great contribution to his artistic personality and literary creativeness. As one of the most prominent Iranian poets and mystics in Iran, Rumi has skillfully used the phonological elements of the language to musically create his own words and, as a result, has had a greater impact on the addressee. By using his knowledge of language capacities especially in the field of phonology, he has not only made music and formed pictures but also has paid special courtesy to transfer the necessary concepts to the addressee. Hence, Mawlana’s prominent and distinguishing feature in this field is his selection of appropriate formal elements in order to induce his poetic meanings in a way that his sonnets are not only regarded as a suitable tool to transfer the supreme concepts of his mystic thought, but also as a kind of musical tool to impress the aesthetic emotions of the addressee. Results of this research, which are based on a bibliographic and descriptive-analytical method, show that Rumi has used phonetic clusters at all phonological, lexical and syntactical levels appropriately.

One of the dominant acts of Samuel Beckett’s characters is their “death thought” or “deathliness.” They are either waiting to die or want to commit suicide. Disappointed with the proceedings of their life in modern society and to free themselves from deep crisis, these characters prefer death to life. Since ancient Greek tragedies, death has always been a basic theme in the works of many writers, poets and philosophers one of which is the famous Iranian poet, philosopher and mystic, Rumi. Using Rumi’s system of thought on death, this topic will be examined first; then the belief in death in thetwo cultures of East and West will be evaluated to provide a clear understanding of the role and nature of deathliness in Beckett’s works only to further treat the following questions in that context:What is the reason that Beckett’s characters are deathly or commit suicide? Does Beckett intend to promote death and non-existence or he is pursuing a more constructive goal in human life? Certainly, paying attention to the findings and beliefs of the audience in Iran, including the influence of personalities such as Rumi in the intellectual sphere of the Iranian people, would lead to a deep understanding of Beckett’s work in the culture of Iranian theater. Accordingly, the research method of this paper would be descriptive-analytical.

Among the most significant features in the poems of Rumi is the concept of “will” and “divine providence”. The mentioned features are abundantly manifested in the poems of Rumi due to this knowledgeable outlook. From his point of view, all substances in the universe are defined merely in the domain of God’s will and authority. Such insights, which are derived from the verses of the Qur'an, are found in various sections of Rumi's poems in Masnavi and Divan Shams. Of course, Rumi does not deny the will of man in the fullest sense; moreover, the exhortation of such verses implies his belief in the insignificance of man and his actions against the absolute power of God. The present article seeks to study the rare illustrated versions of these highly valued works (here 5 copies), focusing on the implications of these concepts in light of the centrality of divine will and desire in his poems. According to the studies, the representation of the divine will in the paintings is in accordance with the context of the story contained in the poems, and the artist selects and displays some of the narrative scenes to incline the viewer's mind toward the story and indeed the concept designated prior by the poet. Guidance, fate, triggering and burning, managing affairs, control of the heart, supplication of prayers and others are among the instances of the will of God depicted in these five versions.

Myth of “remembrance and forgetting” is one of several kinds of myths which can be found in different tribes and civilizations. Mircea Eliade is a Romanian religious researcher who has mentioned this myth in his papers and has introduced many examples of it among Greece, Hindus, Gnostics, and Manicheans. “Song of Pearl” is a Gnostic work and is a perfect example of this myth in which the remembrance and forgetting is much similar to an Indian story called: “Matsinderanat & Gorakhnat” and the parable of Attar’s poem called: “Sheikh Sanaan & Dokhtar-e-Tarsa”.
Since the sources of the stories of Ibn-e-Sina and Sohrevardi are the Hermes and Gnostic wisdom, we can see examples of this myth in their stories. In this paper, we try to elaborate and compare the myth of “remembrance and forgetting” as a Gnostic myth in Persian allegories. The stories of “Hay-ibn-Yagzan”, “Salaman & Absal”, “Resal-olTeir”, and “Einieh Ode” from Ibn-e-Sina, and stories of “Red Reason”, Sohrevardi’s “Story of Alghorbat-al-Gharbieh” and Story of “Prince who were deceived By witch” from Rumi’s Masnavi are the examples being studied in this paper.

In Masnavi Manavi, the allegories not only reveal the ideas, but also is the source of contents, ideas, and images. Therefore, understanding the structures of allegories in Masnavi, can firstly show us Rumi’s thoughts better, more visible, and tangible and secondly, help us to understand the structure of Masnavi and the way it has formed.
Allegories are structured models which Rumi has used them a lot to convey his stories. In another word, Masnavi’s allegories are results of ideas. Therefore, the allegories are in a way the mere thoughts of Rumi. By analysis of allegories in Masnavi and their function, we can see how the stories are joined with the allegories and paraphrases and create the structure of multi-realm of Masnavi.
This paper, structurally, deals first of all with the source, function, and identity of the allegory and then reveals the method of creating the allegory in Masnavi. That is how Rumi can build the entire Masnavi by creating stories and allegories which comes to his mind instantly.