پژوهشنامه فرهنگستان هنر
پیاپی 25 (پاییز 1403)

‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍ Vayu (or Vāyu) is an ancient Indo-Iranian deity with a significant role in the mythology of both cultures. Vayu holds a prominent position in Indo-Iranian myths. In Indian mythology, Vayu is associated with Indra and considered one of the Devas. However, in Iranian mythology, Vayu is seen as a companion and supporter of Ahura Mazda in the act of creation. In the Avesta, Vayu is held in high esteem, and Yasht 15, known as "Rām Yasht," is dedicated to his praise. In this Yasht, even Ahura Mazda and other deities appeal to Vayu to fulfill their desires and needs. Nevertheless, in Pahlavi texts, Vayu is divided into two distinct entities: Good Vayu, or Vāyu Dirang-Khwadāy, symbolizing benevolence and a supporter of Ahura Mazda’s creation, and Evil Vayu, or Astō-Vidhādh, who represents the demon of death and is a symbol of malevolence. This study examines the rationale behind this dualistic division and aims to analyze the role and position of this deity in Iranian mythology as well as its transformation over time. Based on evidence from the Avesta and Pahlavi texts, this duality appears to reflect the Zoroastrian cosmological worldview, which is characterized by the confrontation between forces of good and evil. Furthermore, the connection of this duality to concepts such as Zoroastrian dualism and similar divisions among other deities, like Spenta Mainyu and Angra Mainyu, is explored. On the other hand, this article demonstrates that in the Avesta, Vayu not only embodies unparalleled power but also performs a dual role: as a beneficent deity on one hand and as a force bringing death and destruction on the other. This duality is articulated more explicitly in Pahlavi literature, where Good Vayu is depicted as the ally of the righteous, while Evil Vayu is identified as the god of death and annihilation. The findings of this research reveal that Vayu, as a dualistic deity, symbolizes the complexities of ancient Iranian beliefs regarding creation and the conflict between good and evil forces. This duality reaches its pinnacle in Zoroastrian thought, particularly in Parthian and Sasanian-era texts, reflecting the efforts of Iranians to interpret the relationship between the material and spiritual worlds.

The painter of light in ancient Iran has employed a wondrous and astonishing method to fulfill his mission; a method where painting and portraiture manifest at its heart. Various narratives indicate that Mani depicted his profound teachings through paintings accessible to the general public. The study of illustrated works, particularly the Manichaean didactic paintings discovered in southeastern China, has significantly transformed the realm of Manichaean art. Among the ten discovered scrolls, the Chinese Manichaean cosmos diagram is recognized as the most important and magnificent work, illustrating cosmic components from the perspective of the Manichaean faith. This cosmos diagram clearly reveals the deep meanings and cosmic structure of Manichaean thought, serving as a credible resource for better understanding the religious and existential principles of this faith. The present article reviews and analyzes a selection of research conducted in this domain, focusing specifically on the symbol of the "Realm of Light" in the Chinese Manichaean scroll. This symbol represents the interplay between art and religious thoughts in Manichaean culture and can serve as a beacon for a better comprehension of the structure of the faith and worldview of the Manichaeans. Thus, these analyses may contribute to a deeper understanding of the various dimensions of this faith and its influences on art and thought throughout human history.

The fallen angels are a common mythological-belief category in Semitic-Hebrew beliefs. The oldest source in which they are mentioned is the Book of Genesis of the Old Testament. In the Book of Genesis, the "sons of God" descend from heaven and mate with earthly daughters. In addition to the Bible, fallen angels are mentioned in other Judeo-Christian texts. In the Book of Enoch, they are called "Agrigori" who descend from heaven to mating with the daughters of earth and have strong and violent children who corrupt the earth. The Agrigori and their giant children incur divine wrath and are punished. The category of fallen angels is also mentioned in the "Quran" with a reference to Harut and Marut. In other written and illustrated texts of the Islamic period, the presence of fallen angels is also described and recorded through the "Story of Harut and Marut". Based on the aforementioned texts, it is possible to find mythological-belief commonalities about fallen angels and based on them, introduce and examine existing images. In the following article, five images from ShahTahmasbi's Falnameh and illustrated versions of Qazvini's Ajaib-ul-Mukhluqat and Gharayib-ul-Mujoodat, which depict the category of fallen angels, will be introduced and examined based on the mythological-belief commonalities found in ancient texts.

Pietà, as a religious theme in art, is depicted with a focus on Mary's maternal emotions toward Jesus and her grief. The pinnacle of this artistic genre, with a deep historical background, is related to Michelangelo's marble sculpture in Vatican City, Rome, during the Renaissance period. Throughout history, various interpretations of this original Pietà have been presented. The aim of this paper is to trace the continuity of this visual tradition, its reproduction, and re-creation in contemporary global art. Ingrained in the collective consciousness, this genre has become a means of addressing current societal tragic issues. The research questions focus on why and how the Pietà has emerged in contemporary Iranian painting and whether Northrop Frye's theoretical approach to the genre of literary tragedy can be applied to the artistic genre of Pietà. The research method is descriptive-analytical, and data collection has been conducted through translation and reference to original textual and visual sources.According to the findings, contemporary Iranian painters, considering this global visual culture and its connection with local culture, have created a genre that redefines the meaning of Pietà within the paradigm of revolutionary and war art. These works simultaneously depict tragic religious themes, such as Karbala and the ascension of the martyr-hero, while addressing social themes of "Motherland" mourning, compassion, and human vulnerability. Frye’s theory of the autumn narrative, or the tragic literary genre, can be recognized and equated with the Pietà genre in painting, particularly in contemporary Iranian Pietàs. There are commonalities between the resurrection god narrative and themes of mourning and the contrast between life and death found within these works.

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The reasons for the establishment of universities and faculties of arts in Iran are in clear conflict with the policies and the aim of the current regulations for the promotion of faculty members. This conflict is partly due to the neglect of the internal requirements of scientific and artistic work, including education, research, and artistic creativity in these centers, and partly the result of their inappropriate and unbalanced relationship with extra-university organizations; relationships that have ruled out the possibility of defining the logic of intra-academic activity for these universities and centers. This article, focusing on the results and consequences of the implementation of the regulations for the promotion of faculty members in universities, faculties, and art research institutes, addresses the need for distinctive and specific policies in the field of art, referring to the reasons of establishing these centers. Therefore, on this occasion, based on published analyses and views received from professors and stakeholders of art academies, an attempt has been made to show why this different policy is necessary. It is also necessary to mention that this article is one of the three aspects of "the necessity of a distinct art policy", "investigation of internal and external problems and afflictions of art academies" and finally, "alternative scenarios for evaluating the academic activities of art faculty members" in connection with the internal and external organization of these centers based on the structure of the university's social responsibilities, which will be addressed in separate articles.