جستارنامه فرهنگ و هنر اسلامی
سال چهارم شماره 1 (پیاپی 9، بهار 1404)

As the covering of one of the most important spaces in Iranian mosques, the dome has an important place in the semantic system of the mosque. Researchers have assigned general meanings such as unity, sky, heaven or throne to the dome in Islamic architecture. Sheikh Lotfollah Mosque, which is one of the historical mosques of Isfahan, is located on the eastern side of Naqsh Jahan square. It has a dome that is considered one of the most beautiful and magnificent domes in the world and displays a corner of the genius of Safavid architects. The Muslim artist has made formal dimensions a medium for a spiritual leap to the world of truth and meaning. Islamic architecture, especially mosques, is born from the artist's inner inspiration, which originates from the wisdom and spirituality governing human teachings and monotheistic perspective, which provides various forms and decorations to show the concept of unity. Considering that the dome is a traditional form and since many structural and decorative elements in traditional art, such as the dome, contain symbolic concepts and expressions, the question arises, what is the symbolic meaning of the dome? In this regard, this research tries to reveal its meaning by studying the dome and especially the dome of Sheikh Lotfollah Mosque with a symbolic approach and examining the concepts of motifs and components of the dome of this mosque. In this article, the subject has been analyzed by using the descriptive-analytical research method and using library tools. The results of this research show that among the meanings and connotations obtained for the dome, the following points can be mentioned: the sky, the divine throne, the house of God, unity, perfection, eternity, completeness, the course of man in the soul, movement. From the earth to the sky and from the body to the soul, unity in multiplicity and the beginning, etc., how these meanings are related to the dome is explained in this article.

Martyr Seyed Morteza Avini and the late Mohammad Mohammadpour, two critics and theoreticians of Iranian cinema, have different views on cinema and religious cinema. From the point of view of an Iranian thinker, filmmaker and writer, they have tried to redefine the nature of cinema and the concept of religious cinema and its relationship with religion. There are still theories in Iranian cinema by critics and cinematographers, but there are different theories in religious cinema and the development of their views on The theory of religious cinema still has various problems and effective theories have not yet been developed in this field. Therefore, it is necessary that seminary and university researchers and people of art and media research and analyze religious cinema in their studies. In this research, the aim is to investigate the way religious and pseudo-religious attitudes and components and elements interact, with the aim of finding the main differences and similarities in the attitude of Seyed Morteza Avini and Mohammad Maddpour towards religious cinema and critically analyzing the views of these two theoreticians. For this purpose, the relationship between cinema and religion, common opinions and the possibility of realizing religious cinema from the point of view of Martyr Syed Morteza Avini and the late Mohammad Mohammad Pour are examined. . The target society of the research is religious cinema studies and the works and writings of these two theoreticians in Persian language. Paying attention to the theories of Maddpour through a judicial and philosophical view and also an effort to expand and deepen the theories of Martyr Morteza Avini has occurred. The research method is as follows: first, the written works of religious cinema theorists have been fully analyzed. Then, the matching factors have been extracted from the works and the opinions of two spectrums of theorists have been expressed about it. Two adaptation factors, "the relationship between cinema and religion" and "the relationship between form and content", have been in religious cinema. Then, according to the analysis of the theories regarding these two factors, the views proposed by these two theorists are criticized and the strengths and weaknesses of the theories are examined.

Different methods regarding Islamic art and architecture focus on some specific components to study the artwork and data remaining from the past, and thus, their results are divergent and sometimes contradictory due to their diverse approaches and theoretical basis. Traditionalism, historicism, phenomenology, and hermeneutics are among these approaches. This study aims to identify the discoursal relation between architectural collections of the Ilkhanid era, focusing on the Dome and Citadel of Soltanieh and the main pillars of power. Historicism and sociology of art were used as our methodological approaches. The research method was analytical-descriptive, and the research was a qualitative and historical study. The data were collected through library research and field studies. The results indicated a linkage between the main pillars of power (political, economic, and religious) in the major religious and royal buildings of the Ilkhanid era. Organizing structures such as congregational mosques and Khanqah, government Divan, bazaars, and commercial roads in an architectural collection reflects the empowering and legitimizing pillars in the architecture and urban development of the late Ilkhanid era.

In the second half of the 20th century, in the field of structuralism, theorists such as Joseph Campbell and subsequently Christopher Vogler propose a structural model for the journey of mythological heroes, based on which the hero begins a journey in order to achieve individuality, which consists of three main stages of departure, Honor and return is formed. The hero of the story is drawn to another land by the call and begins his journey. He achieved what he wanted in the course of his enthusiastic and hard-working journey, and at the end he returned to his previous position while he had reached a kind of knowledge and awareness, and while he also carried the elixir of life, he gave grace to his companions. The purpose of this article is to examine and adapt the characters of the story "Day of the Event" written by Bahram Bayzaei based on the character archetypes of Christopher Vogler's journey; And It tries to make a clear analysis of the structure and characters of the fictional film of the day of the event. The research method is analytical-descriptive; And the result of the research shows that these personality archetypes of Vogler's model can be adapted to the characters of the story in the story "Day of the Event".

Music and its application in the world According to different religions and cultures, it has different functions and dimensions, one of which is music therapy, which has been widely discussed as music therapy in the world. This research is based on written sources and documents that describe and analyze the quality of music therapy in the two nations and how to use music as a therapist in the treatment of a mental illness and its statistical population is derived from the native ritual in Hormozgan province and Golestan province. Music as an abstract art and having its audible character, in two different ethnic groups with different religions and cultures, and with local instruments specific to each region has been able to have the largest share compared to other tools in the treatment of a mental illness in two rituals, and It has had a great impact on other arts in the field of treatment as well as as a folk art for a long time, and to be fruitful in Iran and its regions. Our country, due to having different ethnic groups and different rituals, music and its dimensions in each ritual has taken a special shape, which in this study expressed the differences and similarities of music therapy between the two peoples of Hormozgan (Zaar ritual ) and Turkmen Sahra (Pourkhani ritual) has been studied and the use of music and its instruments in ceremonies and reading has been studied and the function of music as an important element of these rituals for many years has been able to cause the permanence and solidarity of the society of these two rituals.

In Iranian architecture, decorations have always played an important role, and due to the prohibition of painting in the Islamic religion, conventional and abstract motifs were created to decorate mosques. The existential importance of the mihrab and its religious necessity caused Muslim artists to pay attention to it before other parts of the mosque and to decorate it with plant and geometric motifs and Quranic inscriptions with various methods, including plastering, with the utmost precision and elegance. Borde, which is considered a turning point in the growth and development and the peak of the art of plastering and decorating the altar between the Seljuk and Ilkhanid periods. In the Seljuk period, this art has developed its way, and the features of this period include carving, embossing, and deep cuts, along with the extensive use of Kufi script, and the combination with all kinds of geometrical and plant motifs and their compactness. This art and the variety of motifs in this covenant caused that in the Ilkhanid period, wide altars with all kinds of rich and intricate motifs and all kinds of geometrical knots and salamis with prominent, braheshte, zabre, motabag and majof methods that were previously in the period It was invented by the Seljuks, and it was performed with full skill and turned this art into the main art of the Ilkhanid period and brought it to the desired level of perfection. According to the research done, in this article, while examining the decorative elements in the stucco altars of the Seljuq and Ilkhanid periods, the decorative elements of the two plastered altars of the Shah Abul Qasim Mosque in Yazd, in the Seljuq period, and the Jame Abarkoh Mosque in the Ilkhanid period, are examined and compared. .

The art of painting in Iran has been of interest to artists and art lovers since the past and has had its own characteristics in different eras, and many artists have studied in the field of painting to serve this unique art. The Timurid period is considered one of the most brilliant periods of Islamic art. In this period, the art of painting has taken its path of evolution and marked a glorious era in the art of painting. The symbolic features in the paintings of the Islamic period reflect the manifestation of the artistic spirit and style of Iranian schools, and symbolism can be considered a tool for visual expression of Iranian painting works. The present study deals with the reading of selected paintings from the Timurid period based on symbology and based on the classification of form, composition, geometric symbols, mythological themes and integrated elements in these paintings. The issue raised in this research is how the painters of the Timurid period used visual elements in reflecting their thoughts. This research is important because the Iranian artist creates magnificent works in a symbolic space and provides a meaningful and meaningful connection in the setting space of these works. The method of this research is descriptive-analytical; And therefore, it is trying to deal with the symbolic meaning of the paintings of the Timurid period and reveal the secrets of these paintings in the context of Iranian wisdom. results show; These paintings are based on the beliefs and mystical thoughts of the Timurid period, which represent Iranian and mythological identity.