مجله جلوه هنر
سال دوازدهم شماره 4 (زمستان 1399)

Manuscripts of al-Harīrī's Maqāmāt (also known as The Assemblies of al-Hariri) is the famous work of Abu Mohammad Qasim bin Ali Hariri Basri, born in 446 AH.  This literary work is one of the oldest illustrated stories of Arabic literature during the Abbāsid caliphate. Unique literature, narrative attractions along with social criticism, moral and educational values are its unique features. By illustrating this work, Mahmoud Wasiti not only established the Baghdad School of Painting, but also created an illustrated culture of the social, behavioral, and moral conditions of the time. This article has used social criticism to describe and analyze the written and illustrated text of al-Harīrī's Maqāmāt and will address the realities of the medieval Arab society as well as the research results. Social criticism is one of the most authoritative criticisms among various types of criticism. According to the definition of social criticism, just as the social environment affects literature, literature also has had a profound influence on the social environment. Sociology of literature is one of the specialized branches of sociology. “Literature and representation of the social world” is one of the important fields of study in the humanities field. The works of poets and writers can be used to understand social thought. In social criticism, the relationship between literature and society has been considered and the most important method of analyzing literary texts is social criticism and analysis. Hariri's social criticisms are presented under three main headings and represent his meticulous attention to social issues. His sharp attention was drawn to issues that few people paid attention to. Among his social criticisms, the government’s criticisms are more noticeable than others. Moreover, these criticisms have been unique mainly from social, literary, and cultural perspectives. The second category of Hariri’s criticisms is of social ideological behaviors that affect specific groups and different social classes. The third category of criticisms refers to ethical-social behaviors and individuals in society as a whole. Therefore, in Hariri’s vision, every member of society plays an equal role in the construction of society or its corruption. Considering the type of criticism as well as the individuals or groups that have been criticized by Hariri, it can be said that Hariri is a socialist and not an individualist. He believes that a balanced and healthy society contributes to the construction of a healthy life and human development. According to the moral criticisms of Harīrī's Maqāmāt, he does not blame the rulers for all the people’s wrongs and sins and considers that both individuals and the society are equally effective in making them. The construction of both society and individuals requires their unity and solidarity. According to government criticisms of Harīrī's Maqāmāt, the main criticism is towards the grandees, rulers and kings, religious leaders, and preachers because of their society and not towards the society members. In Hariri’s social perspective, individuals should be criticized based on their position and influence to create a society close to Hariri’s Utopia.

The Safavid Empire was one of the most significant ruling dynasties of Iran. They ruled one of the greatest Persian empires, with artistic accomplishments, since the Muslim conquest of Persia. From their base in Ardabil, the Safavids established control over parts of Greater Iran and reasserted the Iranian identity of the region,[9] thus becoming the first native dynasty since the Sasanian Empire to establish a national state officially known as Iran.[10]  The Safavid dynasty had its origin in the Safavid order of Sufism, which was established in the city of Ardabil in the Iranian Azerbaijan region. Accompanied with Islamism, and with the aim of the renovation of Persian identity, the Safavi started regenerating a major part of the aspects of Persian governments, like Persian court; and by imitation of prior Persian courts, they had a specific tendency towards beasts of prey. Because of the concentration on the generalities of political-martial issues, the historians of this era have neglected the precise report of this aspect of court formalities, on the other hand, the reports of European living in Iran are partly concise. The arts of the Safavid period show a far more unitary development than in any other period of Iranian art.  It was a high point for the art of the book and architecture; and also including ceramics, metal, glass, and gardens. The arts of the Safavid period show a far more unitary development than in any other period of Iranian art. The painter of the Safavi era has shown all these applications and functions by more than ten valuable paintings through his sharp-sighted view and he has depicted the symbolic position of beasts of prey by the language of art. The aim of this study is the identification of the functions of beasts of prey paintings in the royal courts of Safavi and the demonstration of the symbolic position of these beasts in the painting art of this era. So, the existing data in the historical resources of Safavi, including the remnants of historiography and the reports of European explorers are being investigated and their results are being accorded with the Safavi paintings. Under the Safavids, the art of the book, especially the Persian miniature painting, constituted the essential driving force of the arts. This study intends to use the data contained in written historical sources and historiography and using historical illustrated documents related to the relics of the Safavid era, such as manuscripts. Ferdowsi Shahnameh, Khamseh Nezami and some sites in museums, libraries, and world-renowned collections, including the Boston Museum of Fine Arts, the Los Angeles Museum of Art, the Metropolitan Museum of Art, the British Museum, the Victoria and Albert Museum, the British Library, the Library Princeton University, and Freer and Sackler Gallery in a descriptive-analytical way and a library-style, while introducing the predatory beasts of Safavi Iran, to study the symbolic place of these animals in Safavid human thought and its manifestation in the court system and Safavid painting. To pay. According to the results of this study, fettering and keeping beasts of prey, especially lions and tigers in the royal courts of that era, was a symbol of authority and magnificence of the government. Sometimes Safavid kings kill lions and leopards in hunting, sometimes he fights with them, and sometimes he saves his subjects from their clutches. The Safavid painter also shows the heroic warriors by covering the body parts of this creature; As the skin of a lion, a leopard, and a tiger is depicted in the form of a saddle cap and the leopard's tail as a pendant on the horse's mouth to narrate their warriors. This symbolic function has been delineated clearly both in the court of Safavi and in the paintings of that era. Besides the function of recreation, the issue of hunting preys in the court of Safavi was the sign of satisfying domineering and immensity sense of the king. In the paintings of the hunting ground, the Safavi painter has distinguished the king by his clothing and being in the center of the painting, and he has demonstrated the king’s symbolic power in struggling with beasts of prey like lion and tiger. The method used in this study is descriptive-analytic.

Nizamuddin Sultan Mohammad Tabrizi or Nizamuddin Sultan Mohammad Iraqi was one of the Iranian painters who lived during the Safavid period. His painting style is known as the second period of Tabriz school. His works in the first half of his career were influenced by the pre-Safavid artistic style in western Iran, but after that, it reflects the new currents prevalent in the Safavid court. Painting of Masti-e Lahuti va Nasuti is one of the paintings of Hafiz Divan of Prince Sam Mirza and is considered as one of the prominent and valuable works of Sultan Mohammad in Persian painting. Also Persian painting has features and specifications that distinguish it from other painting styles i.e. pointist (point), line (how to draw and use the line), waq (landscape or landscaping) and at the same time as avoidance of nature, idealism and symbolism, color features and method of painting, being a narrative while abstracting, using the fourth dimension (time), simultaneous space (combined), absolute motif (Khatai and Arabesque  motifs), golden proportions, axial and symmetrical composition with curved and circular infrastructure, and Dagh or Recreating or Practising by copying the works of ancient Persian masters and painters. It should also be noted that the creation of works of art depends on the creativity of artists and creativity plays an important role in a variety of arts. Creativity includes several definitions and concepts, i.e. 1- creativeness, 2- Innovation, initiative and innovation, 3- Imagination and the use of imagination and prolepsis, 4- A way to respond to psychological stress and life ambiguities, 5- Sudden discovery, 6- Using the abilities of the mind to create a new thought and idea, 7- Creating new and up-to-date concepts or using it in a new way, 8- The ability of the human to cross the border of the known to the border of the unknown. The importance of the specifications of the Persian painting art and Sultan Mohammad’s painting of Masti-e Lahuti va Nasuti and thus the various definitions of creativity and the position of creativity in art, has made this research necessary. Therefore, identifying the specifications of Persian painting, the characteristics of the painting mentioned before, and recognizing the reflection of the concept of creativity in it, are the purposes of this research. Thus the research questions include: 1- What are the specifications of Persian painting and how are these features used in Sultan Mohammad’s painting of Masti-eLahuti va Nasuti? 2- How is the concept of creativity reflected in it? In order to answer the questions, library and documentary information have been studied with a descriptive-analytical approach and inductive reasoning and a case study is painting of Masti-e Lahuti va Nasuti, and the component of creativity has been analyzed in the visual structure of the painting. The results show that in this painting, the feature of landscaping is less used compared to other works of Persian painting and in reflecting the concept of creativity in the structure. it should be noted that the following elements has been used in the structure of this painting: creativity in the meaning of creativeness, innovation, imagination and the use of imagination and prolepsis, a way to respond to psychological stress and life ambiguities, sudden discovery, using the abilities of the mind to create a new thought and idea, creating new and up-to-date concepts or using it in a new way and The ability of the human to cross the border of the known to the border of the unknown. Only the concept of creation cannot be attributed to this painting, because the Property of creation and creativeness in Islamic art are specific to the Divine and God quiddity and assigning this feature to an Islamic artist and an Islamic work of art is equivalent to blasphemy and polytheism in Islamic thought and culture.   Key Words: Creativity, Persian painting, painting of Masti-eLahuti va Nasuti  SultanMohammad Naqash.

Myths, legends and stories are very old as far as human creation is concerned, which contain hidden meanings hidden within the narrative, carries the worldview and cultural characteristics of that society.Shamaran (half human-half snake) is a mythical narrative that has been tied to the culture of Kurdistan since ancient times. Shamaran in the art and literature of Kurdistan The god of snakes, the guardian of treasure and wealth and the omniscient, is an ancient metaphor of the knowledge at his disposal. In this research, a narrative is analyzed that is common among the common people in many parts of Kurdistan and Kermanshah provinces. But this myth has not yet been analyzed from the perspective of mythology, and in this study for the first time from the perspective of the late mythologist, Joseph Campbell is analyzed and studied. This research is based on the hypothesis that the narration of Shamaran legend has mythical features and structure. In this research, the authors intend to analyze the structure and content of this narrative, so they chose the approach of the hero's journey from Joseph Campbell and adapted it to the narrative to better understand the mythical hero, as well as the structure and content of this narrative. Achieve the story. Joseph Campbell, in order to structure the narrative and the story of the myths and their hero's journey between his world and mythology, proposed a unique myth model, according to which the mythical hero's journey follows a fixed pattern. During the journey, the mythical hero engages in countless adventures and experiments, all of which aim to actually change the hero towards mental and physical development. During this journey, the hero becomes aware of his weaknesses and abilities, and by strengthening his mental spirit, he comes out proud in all the tests and reaches his eternal reward. The hero's journey begins with an unseen voice or invitation. The hero's journey is in situations and places beyond human ability and faces many problems and tests, small and large, and in the last stage, he encounters the most difficult and terrifying demon and obstacle of the journey, which he achieves to achieve full self-awareness and receive an eternal reward. It is great that it can bring grace and blessings to others. According to Campbell's theory, the journey of all myths has a narrative in form and structure and is classified into three general stages: "Departure, Rite of Arrival, Return."Joseph Campbell presented the theory of the unique myth model in three stages (departure, ritual, return) with different sections, the purpose of which is to study the commonalities of the journey of mythical heroes and to present a common model of the journey of mythical heroes. In this study, the authors have analyzed the structure and content of the narrative of the legend of Shamaran and adapted it to the model of the hero's journey by Joseph Campbell in order to gain a better understanding of the mythical hero, as well as the structure and content of the story. The result showed that the hero of Shamaran, like other myths, evolves in the course of his journey and the structure of the story of Shamaran, although in most stages corresponds to the pattern of the unique myth (the journey of the hero) Campbell, but there are no parts of it and its stages are not observed sequentially. The protagonist receives the reward and blessing of his journey at the end of the story by connecting with Shamaran in the mortal world of human beings, not in the land of myths.   Keywords: Kurdistan, Kermanshah, myth, Shamaran, Joseph Campbell, Safar Ghahraman

The growth of the Sufi group during the Timurid period led to the expansion of monasteries and their activities. At this time, the Timurid rulers respected Sufi sheikhs. From this time until the beginning of the Safavid rule, the monasteries were widely active and in all forms of people's lives, more than ever, there is the domination of religion, mysticism and Sufism, and it was not possible to separate one of them the dominance of religion, mysticism and Sufism can be seen, and it was not possible to separate one of them. When Sufism was perfecting and expanding, Scholars of this group in order to achieve their goals, they built monasteries and modernized Shiite and Sufi monasteries and customs in different parts of the country. Azerbaijan, especially Tabriz, also became the base of Sufism and one of its proliferated sects, like the alphabet. Undoubtedly, the study of religious buildings of this period will illuminate new angles of ideas and thoughts of sects. From this perspective, it seems that the Blue Mosque is one of the most important buildings in this regard. Therefore, by carefully analyzing the inscriptions of the building, we can understand the idea of artists in choosing their themes. The Blue Mosque was built during the Qaraqoyunlu Turkmen period, according to its endowment letter, on the orders and under the supervision of Jan Beighe Khatun (Jahanshah's wife). In the current situation, the plan of the building includes a central dome, a porch and a domed bedchamber. From a technical point of view, it contains the most delicate works of mosaic tiles and has a variety of tile designs. In perspective of artistic decorations, this building has a special place in Iranian architecture, so that it is called Firoozeh Islam in Islamic sources. Variety in design, figure, and types of lines, inscriptional themes and religious concepts are the hallmarks of the building. Accordingly, the main question of this research is posed as follows: what effect did the religious movement of the Hurufieh sect have on the writings and themes of the inscriptions in this building? Paying attention to some building inscriptions and the reason for using their themes has been one of the main objectives of this research. In order to achieve the desired goals and answer the main question of the research, first the decorations of the building were visited and pictures of different types of writings were prepared and then the meanings of the writings were studied using library studies. The way of advancing the discussion is that first, the movement of Hurufieh and their ideas are introduced, and further their influence on some of the decorations of the building by examining the sources, such as the doctrinal principles of this sect and the works that were written at that time e.g. poetry collection of Fazlullah Naeemi and Nasimi and the adaptation to the inscriptions of the building is described. The present study has been compiled by historical-analytical research method. Data and their analysis are qualitative and the method of collecting information is a combination of two methods field, library and documentary. (Identify, study, classify information, and analyzing them on the subject under study). The inscriptions used in connection with the ideas of the Hurufieh sect in the Blue Mosque are as follows: Cross letters, Ayat- Al-Kursi and Taha, Surah Al-Hamad, Surah Al-Kahf, Surah Al-Jumu'ah, Surah Al-Kawthar, the word Huwa (he is), verses including. The most generous throne. Say God is enough. God suffices - everything works in its own way, verse 18 of Surah Al-Omran, the names of God, the prohibition of denial, the word God, the names of the prophets, the name of Muhammad (PBUH), Ali (PBUH). According to the aims and questions of the research, it has been determined that the influence of this group's thoughts along with the spread of Sufism and mysticism in this period in selecting some of the contents of inscription writing for the building has been well prevented. Using Surahs (Hamad, Kawthar and Kahf completely), Quranic verses (Taha / 5, Esraa / 84, Raad, 43, Al-E-Omran / 18), Quranic words (Hi is, Say God is enough. God suffices), segment Verses , Surah Jumu'ah, Ayat-Al-Kursi and Taha and the names of God, Allah, Muhammad (PBUH) and Imam Ali (PBUH) and issues such as the importance of Friday prayers, the names of the prophets, shows the influence of this sect on the selection of some inscription themes in this building. According to the descriptions on the inscriptions and their content it should be said that the ideas of the Hurufieh sect have had a great impact on their main base, Tabriz, and the surrounding areas, as in some parts of the west of the country, the remnants of this idea as Ahle-Haqq (Ali Allahi) still exist.

Around the third century A.H., the Kufic script was used as decoration in Islamic architecture. Various types of Kufic script were developed until about the seventh century AH. Some characteristics such as flexibility, variety of letters in word composition, different thicknesses, uppercase letters, and combination of letters with herbal motifs, geometric motifs, and sometimes simple ones led to the expansion of Kufic script during the third century till the seventh. Most samples of Kufic script including simple, gol-dar, barg-dar, and greh-dar ones can be observed in brickwork and moldings during Saljuqi and Ilkhani period. The Kufic script into Imamzadeh Abdullah Shoushtar remained from the Ilkhani Period (according to the history of inscriptions) in which the building is related to the initial centuries of Islam and is rebuilt in the next periods. Today, the building of this shrine consists of the tomb of Imamzadeh Abdullah, the tomb of Moayed bin Al-Musafer, and the tomb of Bibi Gazideh. The entrance of the tomb of Imamzadeh Abdullah and Moayed bin Al-Musafer includes inscriptions in simple and Barg-dar Kufic script which also includes brick and stucco inscriptions. The question is what are the components of the Kufic script used in this building and what are the features and visual capabilities of its components? This research is a descriptive-analytical method and examines and analyzes the Kufic inscriptions of the Imamzadeh Abdullah collection. It deals with the aspects of calligraphy rules and visual qualities in the visual arts. The method of collecting information is library and field research. The analysis was performed using photographed images as well as drawing inscriptions in that place. According to the division of the Kufic script into three main parts of the writing system, plant and geometric, it examines the writing system in the Kufic inscriptions of Imamzadeh Abdullah. Achieves the structure and features of the writing system. By providing systematic examples, the capabilities and structural features of the Kufic script are examined in the field of inscription. Studies show that the brick inscription at the entrance of Imamzadeh Abdullah includes the written system. The space of the written system of this inscription is equal to the space of vertical stretches of high-pitched letters such as (الف). In the written system, it is another systematic structure that includes seat lines and guidelines. The conjunctions of the letters in the words and finally in the sentence are created on the four-seat lines, which can be considered as the background seat lines. Because on these lines the connections of letters are formed with each other. These multiple seat lines cause single-letter connections to move and ultimately move the horizontal lines of word connections in the inscription. In addition to the seat lines, the guidelines of the letters are also in this inscription, which is the end line of the drawings and the end line of the letters so that the whole inscription does not come out of these lines. The beginning of the letters like (الف) All started from the guideline other letters like (ن), (ح) in some cases the same height as (الف) is terminated. The beginning of the letters like (الف), (ل), (ط) have started from an initial line and some letters of the inscription such as(ح), (ج), (خ), (د), (ر), (ی) in Some words end in the same height as (الف), which in some cases has been accompanied by a combination of Islamic motifs. The space between the letters (الف) is filled with the letter (لا), which creates a positive and negative space between the drawings of the high-pitched letters and creates the rhythm of the spaces in the inscription. Visual qualities such as the type of writing space, the formal composition, rhythm, and balancing positive and negative spaces are regarded in Kufic inscriptions of Imamzadeh Abdullah. Simple Kufic inscriptions follow the writing system and have the most creativity in designing the letters in the writing system than the other parts of the inscriptions.

As an auditory art, Music results from the placement and repetition of notes in the temporal dimension; and, like visual art, Calligraphy results from the placement and repetition of visual elements in the spatial dimension. Therefore, to find a common ground between, or to equate two pieces of, these two artistic fields with each other is indeed a convoluted matter within which some challenges reside. There exist instances of being inspired by a visual piece of art and creating an auditory one; nevertheless, a logical procedure by means of which to proceed with this matter is verily missed. In the first step, finding similar substantive aspects in two works of art is the most important part of this process. The second step is to achieve a functional intermediate language to create a logical connection between the elements that in this study, innovative coding was able to create this connection. In a thematic classification, different pottery in terms of shape, construction, decoration, and color can be divided into the following categories: 1) colorless pottery 2) glazed pottery 3) black and white-coated pottery 4) pottery with Decorating. The main part of Nishapur pottery comprises pottery with an inscription in Kufic script which is the main subject of this research. This research is based on the fact that rhythm in any musical work is the result of repeating beats over time and in each visual work is the result of repeating visual elements in two or three dimensions. In the study of calligraphy texts on utensils, each vertical movement is equivalent to a "note" or percussion on the strings of an instrument. On the other hand, horizontal letters and elongations also perform the act of connecting between blows and show how it is done. Thus, the first thing that evokes rhythm is the way in which letters and words are repeated and changed, or in other words, the "composition" of letters, words, and finally sentences. In other words, what was studied in this study was not the letters as alphabetical elements, but their "letters as a visual form". The canonical issue of the present study is achieving a method by which to discover the rhythm in the works of visual art and turning it into harmonious works of auditory art. To inspect this matter, the inscriptions on potteries in Nishapur from the 1st up to the 6th Century A.H. have been inspected and selected as the main statistical population due to their specific style and preeminent artistic characteristics. They are 140 utensils that "Abdollah Ghouchani" has introduced in the "Nishapur Pottery" book. One of the graphic works done to analyze the shape of calligraphy was the linearization of circular texts. According to historical documents, many schools in Nishapur were operating at the time of the construction of these vessels, and well-known and reputable teachers taught various subjects to students. The quality of the lines used in the decorations also shows that the creators of the works were literate and had a deep understanding of composition in the visual arts. The main question of the present study is as follows, how can one create an auditory equivalent for a visual work of art? This study has been a comparative one whose applied objective is to inspect and introduce a technical method by the virtue of which to elicit the rhythm of the motifs from written works of art, turning them into harmonious pieces of music. The results of the investigations show that the calligraphic motifs used in the decoration and ornamentation of Nishapur potteries do have a rhythm that can turn into fully audible sounds by means of the methods of coding and notation utilized in this study. With reference and regard to the achievements of the present study, if the changes that each specific subject demands are applied, the method which has been utilized can be further generalized to other Visual Arts, resulting in the creation of harmonious pieces which are equivalents for visual artistic creations.

Iran, with its rich mineral resources, natural attractions, wonderful artistic artefacts, and diverse cultures and thoughts has influenced the art and civilization in different historical periods and has always had a significant position in the world. On one hand, these natural resources, and Iran's ancient history and civilization on the other hand, have the context of producing-economic activities, the cause of social richness and cultural diversity in all periods. On the other hand, the connection between art and life has always been important throughout human history; Iran is no exception to this rule and is world famous for its various and brilliant arts. For more than two thousand years, the old and new civilized world has praised the Iranian talent for beauty.  In addition, Iranian art is based on decoration; In other words, the life history of different human societies in Iran and in the world in general cannot be separated from the history of its ornaments. The main purpose of this article is to present a good view of the evolution of jewelry in ancient Iran from the beginning of the Achaemenid era to the end of the Parthian era. Firstly, we study the different artistic and practical aspects of some of the valuable works discovered from the Achaemenid and Parthian periods, and then we discuss the similarities and differences in them using thematic adaptation and used forms. At the end, we talk about precious and practical stones in their art. The method used for data collection was library method. The research method is descriptive-analytical. The analysis of the data is done qualitatively. The findings indicated the similarities and differences of forms and role of the discovered valuable things, in particular the arrays and ornaments, which were so important in representing the influence of Iranian beliefs, myths and thoughts in different periods on each other and on other countries. Although the remaining works of these periods have significant differences in terms of diversity and effect, due to technical skills, the balance among attractiveness and artistic taste, effects of colors, combination of paintings, artistic methods has been achieved. High understanding of Iranian artists in all eras indicates the rich culture of Iranian and their lovely artistic taste, especially decorative arts and jewelry making. Also, by comparing the objects left from the studied periods, ie Achaemenid and Parthian, according to their political and cultural situation, as well as the time sequence of these periods, we find similarities and differences, including the impact Culture and art are each according to their cultural structure. In the Achaemenid period, due to the richness of the state treasury and also the great attention to the kings and the glory of the court, their art is a reflection of their political principles and aristocratic moral concepts; However, in this age, many artists have created works of art with creative ideas from different lands; However, due to the orders of the kings and the lack of freedom of action in the work of art, they used a special method and style in creating works that can be called court style. Of course, in the flourishing of decorative art, the innumerable wealth of the Achaemenids played a major role that other sections of society were deprived of. This issue is evident in the Parthian government due to the influence of Greek culture and the spread of wealth among different segments of the population in the form of more use of ornaments and decorative elements in the relics and their sculptures and coins and the people's interest in decoration and Its adornment in this period is its manifestation. The end result is that the influence of beliefs, myths and beliefs on jewelry reached its peak in the Achaemenid period; And after this period, in the Parthian period and after that, the forms and motifs of ornaments underwent changes in order to simplify and merely decorate these objects, which can be easily seen in a comparative comparison between Achaemenid and Parthian ornaments.