فصلنامه مطالعات تاریخ فرهنگی
پیاپی 39 (بهار 1398)

One of the important issues in the field of “historical theology” is the analysis on the nature of the term “book”. Ignoring the structural change in the history of Islamic civilization is one of the backgrounds for misinterpreting the term “book” and thus misunderstanding the analysis of the heritage of Islamic civilization. Paying attention to this restructuring prevents the formation of incorrect analyzes on various topics in the history of Islamic culture, such as “Hadith writing”, “prohibition of writing”, “inventing Hadith”, “Hadith communities”, etc. in the first centuries of Islamic civilization, which it is strongly criticized by Orientalists. By establishing, interpreting and explaining the view of the applicable-mediating nature of the “Book” along with its “spoken-written” nature in the first centuries of Islam, this article aims to criticize the prevailing view of the analysis of the history of Hadith, in order to correct and promote of arguments in the field of historical theology. This article also strengthen the hypothesis that the prevailing view on the analysis of the history of Hadith, which has been influenced by the approach of orientalists, has deviated sharply from the standard model of “Book” in the earlier centuries.

Silver hunting plates are amongst the artistic works of the Sassanian period which the Sasanian Archer King is depicted in their inside and outside, hunting various animals. In this research fifteen silver plates have been studied with the aim of analyzing how the hunter king and also the way he handle the bow is depicted on them. This article seek to answer this question that how the Sasanian artist coordinated the components of the bow with the body and face of the king as well as with the technical features. Visually, the principle that ought to be observed was that the face of warrior, brave, powerful and ever victorious king should not be distorted or there should not be an obstacle in front of the kingchr('39')s face. Data of this article is gathered from museums and also some authoritative sources of art history and archeology of this period and presented in historical analysis and description method through comparison of images.

The present study critiques how the Kurds are represented and illustrated in Claudius James Richchr('39')s travelogue entitled Narrative of a Residence in Koordistan and on the Site of and Nineveh, written in the first half of the nineteenth century, and the author’s attitude towards encountering Kurdish communities. This research, using the methodology and theoretical framework of the post colonialist approach, especially Homi K. Bhabha’s views, considers the often negative factors, motives and aspects, such as turning the events as well as subject-oriented and centrist views of the western author. The many examples and quotations referenced in this article include those frequent concepts and techniques of Orientalism discourse such as generalism, otherness, stereotyping, negation, and disregard for cultural differences as well as the moral superiority of the Western subject are reflected in this travelogue.

The image of women of ethnic groups and countries from the perspective of a foreign poet or writer is one of the subjects of imagology, which is a subset of “comparative literature” and plays an important role in recognizing the position of women and their attitudes in societies. The present study seeks to answer the question of how Maqdesī described women. Why and which images and features of women are more prominent in the Maqdesī’s travelogue? The approach of this article is descriptive-comparative and statistical and data has collected in library method. In sum, the Maqdesī’s view of social subjects and women’s issues is devoid of uniformity. Passing through Arab and Ajam regions, he does not have a superior view. His travelogue is not a monologue but a dialogue in which the thoughts, customs and even superstitions of the inhabitants of the regions are discussed. By recording obvious cultural differences in different parts of Iran, Maqdesī has highlighted the characteristics of womenchr('39')s jobs with a very positive approach. His value view towards all issues is undeniable.

Constitutionalism, as an important event in modern Iran, was a movement to establish the rule of law. Since the Naṡirī era, law has always been mentioned in the writings of intellectuals as well as in the demands of reformers and the people. During the constitutional period, Iranians said a lot about this key concept of the modern era. One of the most coherent and accurate statements about this concept is that of Mirza ‘Abdulraḥmān Ṭalebuf Tabrīzī. In this article, an attempt has been made to introduce a concept of law in his thought by examining Ṭalebuf’s writings. Ṭalebuf deals with the status of law, its definition, goals and benefits, as well as the source of its making and provides a correct understanding of this concept in Iran. He has also sought to come up with a perspective on the relationship between Sharī‘a and law.

Modernity is the main feature of Tabriz carpets, which is a leading city in the revival of contemporary Iranian carpet weaving. The purpose of this study is to explain the historical contexts of Tabriz being scout in the revival of Iranian carpet weaving and the reason for the prevalence of modernism phenomenon in contemporary carpet of this city. Therefore, in this article, at first, examples of modernity in contemporary Tabriz carpets were identified and introduced by statistical study, based on traditional Iranian carpet standards. The results show that realism is the main feature of the design and color of contemporary carpets in this city. The documentary study of the historical context of this phenomenon showed that the acquaintance of the people of Tabriz with modernist ideas through Russia and the Ottoman Empire, business interaction with Caucasus, the vast presence of foreign commercial and political representatives in this city and the presence of carpet merchants and manufacturers in the context of these developments, provided the ground for the influence of modernist currents amongst the production operates of Tabriz carpet. Utilizing emerging technologies, having capable and modern manpower in all aspects of Tabriz carpet production system, provided the ground for the city to take the lead in accepting and reflecting modernist ideas in production carpets.