مجله رهپویه هنر
سال سوم شماره 2 (پیاپی 7، تابستان 1399)

His tory of thought in Islamic civilization shows Islamic wise men and mys tics have immersed beauty, which have been theological, not aes thetical approach and have created many important and contributed ideas in knowing beauty. One of the mos t important aspects of s tudding beauty in Islamic mys ticism and wisdom is its relation with perfection, from Farabi to Ibn-sina and from Sheikh Ishragh to Ibn-Arabi’s followers. One of the mos t important works in this subject is the explanation of Nazm al suluk or Ghasideh Taeiyeh by Ibn al-Farid or Ibn Farid (Arabic, عمر بن علی بن الفارض `Umar ibn `Alī ibn al-Fārid) (22 March 1181 - 1234) by Said al Din Farghani , who has been Sadr-al-din Ghonawi’s s tudent. The poetry of Shaykh Umar Ibn al-Farid is considered by many to be the pinnacle of Arabic mys tical verse, though surprisingly he is not widely known in the Wes t. Among Iranian mys tical Islamic texts, this book is one of the mos t important and famous works. For this reason, many Sufi elders have described and interpreted it. For example, Sadr al-Din al-Qanooni, who is the greates t s tudent of Ibn Arabi. During his discussions, Sadr al-Din described Nazm al suluk or Ghasideh Taeiyeh. One of Sadr al-Din Qanooni’s great s tudents was Said al Din Farghani. Sadr al-Din praised this s tudent very much in her various speeches. After the death of Sadr al-Din, Saeed al-Din Ferghani, collected the words of her mas ter about the Ghasideh Taeiyeh. he wrote a work on this subject and named it mashariq al Darari. Of course, this book is not only Sadr al-Din’s commentary on Ghasideh Taeiyeh, but also Ferghani’s comments Mashreq is a very important work, especially in Shiite mys ticism. The main focus of the Ghasideh Taeiyeh is the expression of mys tical s tages with a complete emphasis on love. But the important point in Islamic mys ticism is the relationship between love and beauty. Muslim mys tics cannot separate beauty from love. Because God is the absolute manifes tation of love and beauty. Therefore, both Ibn Farid and Sadr al-Din and Ferghani have spoken about the relationship between love and beauty in their works Especially in mashariq al Darari By Said al Din Farghani. Another issue that has been raised in the relationship between beauty and love is the relationship between perfection and beauty. For Muslim thinkers, the relationship between perfection and beauty has been a matter of course. This paper explains the relation between beauty and perfection to Faraghani’s view in expatiation of Nazm al suluk. In this book, she has tried to provide an accurate concept of beauty. Of course, his approach in this work is more of a mys tical and theological approach, But in the sources of Islamic aes thetics, this book is considered an important work In this article, I have tried to explain the mys tical approach to beauty in Islamic civilization, Emphasizing the special view that Muslims have in the divine worldview. Naturally, such research requires research in a wide variety of sources

Coffee-house painting is one of the mos t important branches of Iranian folk painting which is mainly identified with the s tories of Karbala despite its martial and lyrical themes. The s tructure of coffee-house paintings is in harmony with the theme of the s tories they depict. In other words, the coffee-house painting are not a partial representation of an external object, but are generally recognized as portraits that depict various scenes of a given event by creating some sort of link between different events which have taken place at different times and places. In more concrete words, the painter depicts their favorite themes without regard to time, place, realism, or the rules and principles of perspective. These paintings are closely linked to another type of folk art, namely narrative and picture narration. The conceptual themes of these arts are about good and evil, as well as the narrative and depiction of heaven and hell. Accordingly, this s tudy aims to unders tand the conceptual relationship between the s tructure of picture narrator’s narrative and coffee-house painting and to compare the transformation of imagination in two areas of painting and drama. The s tudy seems to give rise to the manifes tation of a fresh look at the arts of performance and painting together. In this regard, by collecting information in a documentary manner and using a descriptive-analytical approach, while analyzing the visual elements of one of the works of coffee-house painting and, accordingly, citing the narratives of famous picture narrators, the research uses Gilbert Durand’s views regarding the nightly constellation of imagination and daily constellation of imagination to address the central issue of the paper which is the transformation of imagination between painting and dramatic action in picture narration. The inclination of Durand towards Eas tern Islamic mys ticism and her interes t in myth led to formulation of the hypothesis that there may be similarities between her view and picture narration. According to Durand, in addition to the results leading to the image which forms the imagination, the process of imagination begins from the moment of receiving the object to its formation in the mind. The act of narrating the picture narrative by displayer transmits it, with the help of human action, from the unconscious scope of the imagination diurnal regime to the imagination nocturnal regime which is conscious. That is, due to being performed in the presence of audience, picture narration is much more effective and influential. The result was obtained by the observation of the audience’s dynamic imagination through performance, the transformation of the regimes from diurnal to nocturnal in three types of picture narration and, finally, the observation of the nocturnal regime effectiveness compared to diurnal regime in picture narration.

Book of “Jame al-Tavarikh” by Khajeh Rashid al-Din Fazlullah Hamedani is one of the firs t books after Islam that s tarted to revolute Iranian painting to draw holy Prophet (Mohammad), after centuries. This book contains paintings on the subject of life and description of the Prophet and was written his torically at an important point in the his tory of Iran and the cultural and social influences that Iranian society went through in this period can be seen in its picters. In this book, several drawings are dedicated to the portrayal of the Prophet of Islam , which a glance on it, it comes to mind how the subject of illus trating of the Prophet (PBUH), which was previously unusual and even done cautiously, became normal in the Ilkhan’s ruling discourse? The data required for this research were obtained by selecting a s tudy sample and observing and analyzing them in their components, and the information required for their analysis was gathered by library s tudies. The s tudy sample of this research is a picture from “Jame al-Tavarikh” by Khajeh Rashid al-Din Fazlullah Hameda that represented the s tory of the ascension of the holly Prophet. This image is one of the firs t works in the Iranian painting tradition with the subject of Ascension. Its s tyle of illus trating was the firs t Tabriz s tyle or the Mongolian (Ilkhani) style and in its illus tration, various Chinese, Mongolian, Byzantine and Iranian elements have been used. Finally, the answer to the ques tion of this research was possible through sample analysis with the method of critical analysis of Fairclough discourse. This analysis was performed according to the mentioned method in three levels, which are described (with considering empirical, communicative and expressive values), interpretation and explanation (which examines three situational, ins titutional and social indicators effective on forming the art work). The results of this s tudy indicate that the Ilkhani government, by accepting some values ​​of Iran, namely Islam and Shi’ism, and along with its coexis tence with some Mongolian values, took texts from both Iranian-Islamic and Mongolian civilizations and used them in an inter civil discourse, inter textual texts ,They created an enter civilization that was acceptable both to the Iranian Muslim citizen and implicitly ins tilled in the Iranian citizens the values ​​of accepting the Mongols as the rulers of this land, and thus in categories such as the painting by choosing his torical subjects, especially his tory. Islam and its coexis tence with some Mongol values, is coming to the fore.

The s tudy and analysis of the paintings of the Great Mongol Shahnama has often been done with emphasis on the literary text of the Shahnameh and related narratives.In mos t of the s tudies and researches conducted in this field,researchers, both domes tic and foreign,have paid less attention to the signs outside the narration of Shahnama However, it seems that the signs in the literary text of Ferdowsi’s Shahnama are very different from the visual signs the Great Mongol Shahnama in many cases.Because the text of Ferdowsi’s Shahnama is a text belonging to the Iranian discourse and focusing on poetic language but the Great Mongol Shahnama is a text centered on visual language and belongs to the Mongol discourse,the discourse that has been formed with the presence of the Mongols in Iran And as a larger semiosphere, two other semiosphere, namely the Iranian semiosphere and the Turkish-Mongol semiosphere,are placed inside it.Therefore, it is thought that if the reading of the paintings of the Great Mongol Shahnama is based on the semiosphere of “Ilkhani Painting” And in analyzing the visual signs,pay attention to the signs outside the narrative of Ferdowsi (Iranian semiosphere),means that the mythical signs and Shamanis tic beliefs related to the Turkish-Mongol culture (Turkish-Mongol semiosphere); In this case, perhaps very valuable and thought-provoking results will be available to researchers and audiences in the field of Ilkhanid painting(Miniature) and so new perspectives for future researchers emerge. In this research,it is assumed that the bigges t and original semiosphere (Ilkhanid painting), the narrations of Shahnama as “non- texts” are in the “text” of the image with two ways: 1. it has taken the narration directly from the Iranian semiosphere (Ferdowsi’s Shahnama) and with the mechanism of intermediate translation, it has entered the images of Ilkhani’s Shahnama. 2.The painter has indirectly incorporated the narratives of Ferdowsi’s Shahnama into the pictorial signs of the Great Mongol Shahnama by passing them through the filter of Turkish-Mongolian culture and by the mechanism of interdisciplinary translation.The purpose of this s tudy is to show the relationship between “Yugh” ceremony – the funeral cus toms of Turks and Mongols in conveying heroes and famous leaders - with funeral cus toms pictures in the Great Mongol Shahnama.This research has been done in a descriptive-analytical way. And it uses library s tudies.The aim of this s tudy is fundamental and uses the methodology of semiotics and the cultural semiotics approach of Yuri Lutman.The main findings of the present s tudy indicate that there are significant indications of the Yugh ceremony as well as the Yuğçus - special performers of the Yugh ceremony - in the four the funeral cus toms pictures of the Great Mongol Shahnama.Thus,in one of the paintings, the exis tence of two different and dis tinct groups reminds of the possibility of the connection between the two groups with two different happy and sad parts of the “Yugh” ceremony.these two gropus are: People carrying musical ins truments and Crying people.And the exis tence of only one group of “crying and wailing people” in the other three paintings sugges ts the possibility of a connection with the second and sad part of the Yugh ceremony.

Timurid era is one of the well-known time of artis tic and artichetural developments in the his tory of Persian arts from the point of form and content. His torians believe that the prosperity of the arts and architecture originate with the special procedure of Timur and his successors to patronage of Persian artis ts and architect. Hirat and Shiraz through Timurid era were the main centers of the art of Book that thrived under patronage of the Timurid princes Baysunghur (d. 837AH / 1434 AD) and Ibrahim Sultan (d. 837 AH / 1434 AD). Although the two scriptoriums of Hirat and Shiraz liased, there were different s tyle in the art of book. Although illus tration of the poetic books has been s tudies extensively for the form, content, as tis ts and schools, the other diciplines of the arts of book among them paper-making, illumination, and book-bonding have not been well s tudied. The main purpose of the article is a comparison s tudy on two significant Qur`an manuscripts in order to determine the main features of Illumination in the two centers of book-making. Two significant Qur`ans copied in Shiraz and Herat held by As tan Quds Radawi selected as indicators of Illumination S tyle: firs t one is a selected suras of Qur`an copied in Shiraz by Ibrahim Sultan in 827 AH/1424 AD. The Qur`an endowed to Imam Riza Shrine by Ibrahim Sultan. The second one is the Qur`an copied by Abdallah Tabbakh Hiravi, the well-known calligrapher of timurid era in 845 AH/ 1441 AD. He copied the Qur`an for the library of Alaʿal-Dawla ibn Baysunghur in Hirat. In this descriptive article the main variant of illumination including motives, colors, and composition of elements in the beginning pages and other elements among them sura-headings, verse dividers, and verse conters compared and analysied. The ques tions of the s tudy are: What are the features of motives, colors, and composition of illumination in the Qur`an of Ibrahim Sultan and Abd allah Tabbakh?What are the differnces and resembalances of motives, colors, and composition in illumination of the Qur`an of Ibrahim Sultan and Abd allah Tabbakh?The conclusion shows that in the beginning pages (safahāti iftitāh) of Ibrahim Sultan`s Qur`an Khatā`ī is the main motif and Islimi is used in sura-headings and lawhs. Additionally, the form of khata`i is compeletly different from Hirat s tyle. The s tyle with the very fine pedicals and leafs backed to the illuminations of Qur`ans copied after 772 AH/ 1372 AD under patronage of Muzaffarids in Shiraz. Khata`i and Islimi have used in equally in Abd-allāh Tabbākh`s Qur`an. The s tyle used in the form of leafs is different as well. Colored flowers between khata-is is another feature of Hirat s tyle. Although, number and type of colors used in the both manuscripts is similar, surface level assigned to each color is different particularly in the use of azura and ochre. In Ibrahim Sultan Qur`an surfave level assigned to azura is much more than Abdallah Tabbbakh Qur`an since the background of mos t elements of illumination, particularly in the beginning pages (Safahāti iftitāh), is painted with azura. While the background of margins and sura-headings in Abdallah Tabbakh`s Qur`an is dedicated to ochre. In composition of the pages, in particular the beginning pages, both illuminitors palces emphasis on the 3 elememts of matn (the surface assigned to the text), lowh (the horizontal shape contained a cartouch and motive) and kamand (the three-sided margin which surrounding all the elemets of the page). But the illuminator of the Abdallah Tabbakh`s Qur`an used multiple margins intermediate text and kamand.

Everything that is said in a conversation is a reflection of another voice in the conversation. Thus, dialogue is considered as the main field of the human category. Also, according to the s tudies, it became clear that the chronotope is used to show timelessness and placelessness, and the basic condition of all linguis tic narratives is seen as text. All of this had to do with man and his philosophical anthropology and his ontological view of man. In the next part of the article, two paintings by Jalayer with Ara Bakhtin were read. In Jalayer’s works, man is the mos t important subject of painting and man has a change in performance and thinking in his works. Jalayer is one of the mos t important artis ts of the Nasserite period, whose main category is human beings and showing the mental and inner s tates of human bodies. Man in Jalayer’s painting is influenced by the political and social conditions of his time. In this section, two sculptural works from Jalayer, one image of Noor Ali Shah and the other women, were s tudied. In this s tudy, it was found that both works are depicted in accordance with the conditions of Qajar society. The main category in pictures is human painting. One work is made in one piece and the other work has several pieces. The image of Noor Ali Shah has a color limit and focuses on the only body of the image, but the image of women of color is painted and group and focuses on the passage of moments. These two images are a symbol of dialogue in Jalayer’s paintings and are seen as a text of dialogue. According to the social and political conditions of Qajar, these works have a kind of anthropology of the image of man in the Qajar period and show his dialogue and concerns, and dialogue is seen as a single-word and multi-word as an expressive medium. In the text, there is a dialogue in these works, the evolution of dialogue and conversation that can be seen as a monologue in the body of Noor Ali Shah and a polyphony in the work of court women around the samovar, and the exis tence of dialogue in Jalayer paintings which is the content of this research hypothesis. conforms that. In this place, the presence of chronotope and timelessness and placelessness can be seen in Jalayer’s painting. Discussion in connection with chronotope in interaction with the aes thetic and humanis tic norms of Noor Alishah’s monophonic paintings (metaphorical and ideal representation, function of court sculptural painting s tructure And its rules) are seen and are more in line with Bakhtin’s theories than the images of women. As a result, in these paintings, dialogue is no longer merely a “linguis tic phenomenon” and becomes a text with multiple semantic implications in dialogue and conversation in the image, which is monosyllabic in Noor Ali Shah’s image and multi-voiced in women’s image. Being a word also has a single word, and each human being is singular in the plural.

Interpretation is one of the cognitive modalities including visual text. This method has long been used in Islamic wisdom and art. Interpretation is the language of ges tures and worship and revealing the principle and how it is unders tood. Exploring the nature of unders tanding and explaining the conditions for its attainment and enumerating the factors influencing the research. Meaning reading has different perspectives and approaches, periphras tic is the knowledge to open the horizons of meaning and to obtain the rules of interpretation, and is a way to avoid misunders tanding, but it differs from concepts such as interpretation, interpretation, explanation, and so on Since ancient times, this method has been used unconsciously in various communities. The fundamental ques tion in this research is whether such a method can be applied phenomenologically to the cognitive image of prayer. To answer this ques tion, among the pictorial books of Shahnameh Baysneghari, Kalilah Vednah, Khamseh Nezami, Khavarannameh, Haft Aurang Jami, Al-Bian Hafez, Saadi Bus tan, Logik al-Tayr Attar and Goles tan Saadi, Mir Heydar’s Book of Miracles Has been chosen and selected because it uses all the elements of interpretation from color to text in this book. The book, which is preserved in the National Library of Paris by poet and letter writer Mir Haidar, has been translated into Turkish by Shahrokh Timur, in Arabic, in the year AH, and has been translated by the Heratian owner into the Uyghur script. The “Prayer” iconography, which is the firs t image-book of Mir Haider’s As trology, is a narrative of a s tory out of objective reality that can be evaluated as an interpretation by the author.The prayer image depicted by Prophet Mohammad (PBUH) along with six other prophets in the Ascension Night is based on a particular process based on the data theory of its interpretation. The purpose of this research is to find meanings behind the elements and images in this image and to read through the phenomenological approach and to read the meaning beyond the quantitative variables such as the seven prophets, the seven lamps, the color of their gems tones, and the way the prophets went forward. The citation of the documentary s tatements and the visual text reveal its concepts and meanings on the basis of the philosophy that governs its origin. The results of this s tudy, taken from a doctoral dissertation, show that The meaningful tools in the paintings include the five components of picture s tructure, color, numbers, eternal image, and written text. Each of them in the painting requires aris tocratic knowledge of religious culture. Miratheir’s painting is one of the hierarchical s tructures that not only illuminates the primacy and time when it also reveals the synoptic conceptualization of meaning as well as the unity in the purpose of the prophets.