فصلنامه عصر آدینه
پیاپی 31 (بهار و تابستان 1399)

Undoubtedly the every work of art that it wants to take title of Islamic concept, it should be compatible with jurisprudence and ethic and it should keep framework of jurisprudence and ethic. The important subject in this problem is question about relationship between performance art and religious issues such as Imam Mahdi (pbuh) and other religious subjects. How can we adhere to theological concept such as jurisprudence and  morality. How and under which circumstances the one dramatic work miss its legitimacy and capacity for Islamic ability. Actually when one dramatic film lose its acceptable situation in production, performance capability and seeing of spectators. The focal point in the performance is narration and especial story that it well be seen by spectators and naturally when we product one Islamic film, we must use from Islamic teachings and religious ideas. However if our story in performance have content against Islamic believes, surly it will miss its Islamic topic and we will say it is not a Islamic work of art. Hence there are one question. What is important subject in production of Islamic drama. Is it form of production in work of art or content of it? If the important point in performance art well be performing of ritual practice and preserving  of jurisprudence, we would notice to exoteric aspect of work of art but if it is important preserving of story  and content in the performance, hence we should try to protecting of narration and we attempt to arrive Islamic teaching in the film. In this article we want to consider and present two model in production of performance works and want to determine situation of jurisprudence in production of works of arts. Fist pattern is minimum model. In this pattern the best subject is our notice to preserving of ethical and theological concepts in performance works. Second pattern is maximum model. In this type The climax of our struggle is securing of films from every action against of ritual practice.

The story of is Barlaam and Josaphat very famous in the world. Its excellent content has caused it to be translated into most languages of the world and has attracted the attention of different ethnic groups, religions and sects and Shiite scholars since its inception. The purpose of this article is to examine the existing discourse systems in Barlaam and Josapha to find out what their relationship is with cultural and religious discourses and Shiite beliefs. The narration of this story by Shiite scholars may be due to the obvious example of the Shiite ideological archetype, that is, the belief in a savior, which according to Jung is rooted in the human archetype and his inherent; The archetype that its placed in the nature of early man on the first day. Using Laclau and Moff theory, which is suitable for analyzing literary and fictional works, and the three-stage semiotic method (Soltani, 2014), the hidden layers of this work can be represented and by presenting a suitable model by analyzing its content, Shiite cultural sub-discourses can be represented. Explained. This article intends to interpret the discourses of this story based on the book "Kamal al-din wa tamam al-ni'ma" by Sheikh Saduq (d. 381 AH) and the Majlisi narration (d. 1110 AH) in the book "Ain al- hayaat" with the help of library sources To explain.

One of the topics in the analysis of the artistic life of the Qajar period is the use of lithographic images in books with religious themes. As observed in Asrar Al-Shahadahby Ismaeil Boroujerdi. The Ten Meetings of this work were illustrated for the first time by Mirza Ali-Qoli Xu’i in 1889 version (Artistic activity period 1884-1893). The present descriptive and analytical study based on artistic-historical approach aims to see to what extent has Xu’i been aware of Islamic traditions as an intellectual background for creating the last image (the journey of Mahdi (pbuh) with Gabriel to the Throne). Based on the results, Xu’i's narrative knowledge has played a very important and effective role in his attitude towards the depiction of this parliament, along with other factors such as the effectiveness of the original text (Asrar Al-Shahadah, including introductory explanations and poems), political, social and cultural norms and other issues. Based on interdisciplinary insight, it is realized that this work cannot be considered merely a source of imagination. The adaptation of Islamic traditions (preface) as the theme inspired by the illustrator in the creation of the image (text) proves this view to a large extent.

Light and color have always functioned as the most influential elements in religious and sacred architecture. A function that leads to the formation of spirituality while human being exposure. The shrine of Hazrat Mausumeh was built according to the religious architecture and it is among the places that have succeeded in creating the spiritual atmosphere by appropriate use of light and color; so that this religious architecture can be introduced as one of the most magnificent examples of religious art in exploiting the extensive capacities of light and color. So, the present research attempts to consider the capacity of religious architecture in the shrine of Hazrat Masumeh, which has been less studied as a research subject. Therefore, the present research aimed to introduce the symbolic and esoteric features of the religious architecture of this sacred building by utilizing the library resources and observing the existing capacities. And then it explains how to use the capacities of light and color, which have the philosophical and mystical basis, in this religious architecture by the descriptive-analytical method.

the intertextual theory first introduced in the sixties decade of the 20th century - around 1966 and 1967 - by Julia Kristeva, is one of the new approaches to literary criticism. This theory suggests that any text originates from its previous or contemporary texts; in other words, intertextual means the idea of transferring meaning or form from one text to another. This theory is now known as "Tanâs" in Arabic critique. The Holy Qur'an is one of the most important sources that has been always considered by the Persian poets. The poets of various periods have used Quranic meanings directly and indirectly in their poems, in the form of allusions, assurances, resolutions and adaptations. In ancient Persian literature, one of the poets who paid special attention to the concept of the Promised and waiting, is Adib Pishavari. The literary and spiritual influence of Adib from the Quranic contents is significant in his poems about the subject of waiting. This influence made forms of intertextuality in his poems and has sometimes been accompanied by change and sometimes with the lack of alteration of the essence of the absent text in his poetry. The most frequent type of intertextuality in his poetry is the general negation.

One of the most important manuscripts related to the Safavid period are the Falnamas. Although the fortunes are among the first copies formed in Qazvin School of Painting, The drawings depicted in it have a high study value and cognitive style.The Paintings in the fortune-tellers, which are depicted under different themes, are kept scattered in collections abroad. One of the Paintings of the fortune teller that was formed in Qazvin painting school by a person named Mohammad is related to Imam Zaman And is kept in the Topkapi Museum. This Painting has a meaningful multi-layered structure Thus, the question that arises in this research is that What layers of obvious and hidden meanings are there in the painting related to Imam Zaman in Tahmaspi's Falnama? In the present study, an attempt has been made to: Using descriptive-analytical method as well as collecting Documentary method was used ,The image of Imam Zaman in Tahmaspi's fortune -telling should be read according to the iconology model and analyzed in three related stages. As a result, fortune-tellers were used to predict misfortunes. The level of people's belief in divination and prophecy in the Safavid period was high and because it was outside the custom of Islam, The painters decided to include images with religious and sacred themes in the fortune-telling drawings To justify their work. In reading the falnamas, there has been an attempt to reveal the meanings of The good and the bad of the future affairs That In the painting of Imam Zaman by analyzing the three stages of iconology, images, signs and also writings, which include verses of Persian poetry in Nasta'liq script and Arabic verses of the Holy Quran. An attempt has been made to grasp the existing concepts From the image as an image copy of a horoscope, it is a kind of herald of hope and the establishment of justice and the eradication of oppression and evil.