نشریه مطالعات شبه قاره
سال هشتم شماره 26 (بهار 1395)

Badr Chachi was an eighth-century poet who has had a great reputation in India. Based on the available biographies, his poem collection has been been popular all over the subcontinent for a long time. On his poetry style, it can be stated that his poetry is known for ambiguity among the experts. The main reason for his ambiguity is the excessive use of metaphor in his poetry, so that his poems get close to riddle.
His interest in metaphor is to the extent that in some of his images, he resembles metaphors to metaphors or other elements. Moreover, he had a great interest in adorning the metaphor with other figures of speech, such as zeugma and amphibology. So, careful review and analysis of his fancy metaphors as the most important element in his poetry is essential. Hence, using descriptive-analytic method, this study attempts to analyze metaphors in his poems.

Abd-Al-Samad, one of the active painters of the Safavid court, was invited in his youth to India by the ruler of the time to establish a school of painting which was started with the principles of Iranian painting. In this study it has been attempted to introduce his paintings in the time interval of 1535 to 1600. In this period, Abd-Al-Samad was busy, working in the royal painting workshop of three kings with three different types of beliefs: the Shiite Shah Tahmasp I, the Sunni Shah Humayun and Akbar Shah who believed in Akbari doctrine. Hence, the differences of this artist’s paintings are investigated in the above mentioned period.
Regarding the importance of Abd-Al-Samad’s artistic personality and his unparalleled influence on Indian art, this research aims at making this valuable painter known to the artist society. Given the need for examining the remaining paintings, the research method was selected to be comparative-analytic and library resources as well as observations have aided the research being carried out. Plain differences in the paintings selected from the working periods of the painter may be observed which are the results of the king imposing his own taste on the painter’s work of art, because the used techniques are not similar to what he started and it can be implied that the artist continued his work in a new mental environment of his work place.

Noor Mohammad Ganjabavi, known as Noorani, was an unknown Persian poet of Balochistan in 12th century AD. He lived in the city of Ganjabeh, which is mentioned as Ghandabil in ancient Persian texts. His most important book is Tohfat-Al-Nassir, which is a poem collection and has about 3500 verses. This historical, epic work describes the epic battles of Nasir Khan Noori, governor of Baluchistan, and Ahmad Khan Abdali, ruler of Afghanistan, with Sikhs of Punjab region. These two rulers were among the prominent commanders of Nader Shah and after his fall, the two took the power in their own regions. Ganjabavi wrote his work in Bahr-e-Motaghareb and imitated Ferdowsi's style. The text demonstrates that the poet has had a well understanding of Persian language. He admitted that he had been influenced by the great Persian poets such as Ferdowsi, Nizami, Saadi and Molavi. Providing information about a certain period of the history of Indian subcontinent, “Tohfat-Al-Nassir” can be a valuable resource for scholars. On the other hand, this literary work can be a reliable resource to researchers of Persian literature in subcontinent. The aim of the present study is to introduce this Persian language poet and his most important work to the academic society; hence the main source for compiling the present paper was Ganjabavi's “Tohfat-Al-Nassir”. A biography of the poet and a portrait of his praiseworthy are also included.

Since a Longtime ago, although poets have had the restriction of rhyme and rhythm, their precision in meaning of the words and attempting to choose the eloquent words, have enabled them to have more verbal and combinatory creativity than prosaists. Creating new words or using old ones in a new way, poets, first, enrich their speech and second, keep their language alive and dynamic in two sections of creating new words and multiple meanings for them.
In the present study, it has been attempted to analyze derived words in sonnets of Amir Hassan Sajzi Dehlavi with this approach. Considering the sonnets of this Persian-speaking Indian poet has been carried out using library resources and descriptive-analytic method. Studying vocabulary and derivative compounds in three areas of prefix, infix and suffix demonstrate that suffixes have the most variety of derived words, non-verbal prefixes take the second place, verbal prefixes has the third highest diversity and the last are infixes in his poetry.

Biographies have spread the range of Mirza Abdul-Qādir Bēdil’s Birthplace from Bukhara to Akbarabad, and from Lahore to Bengal and Patna, and from Akbarnegara / Raj mahal to the village of Khwaja Rawash in Kabul, and have attributed his descent to three tribe: Barlas, Arlat and Arlas. Also they do not agree on how to live and praised him Until the year 1096. While the sham e ghariban’s biography quoted from meraat e varedet’s biography, mentions something about Biddles life that reconciling it with Biddle works, biography, history and geography of the Indian characters nodes can unlock some of the ambiguities of his life. This article seeks to looking writings Biddle, biography and history books, clarify the validity of the claims meraat e varedet. The research method is a documentary and by using the library facilities, which has been used in of the scientific achievements of previous researchers. distribution of votes biographers and scholars Biddle for Biddle's life, expresses the importance and urgency of this Research, and the result is demystification of life Bēdil and clarify the trajectory of his life.

Iran and India enjoy numerous numbers of common cultural-artistic factors that can be result of vast relations and historic symbiosis of the two civilizations. Here, it is attempted to investigate and evaluate common symbolic and mythical motifs, considering mythical motifs of Sassanid reliefs and stuccos while comparing to available motifs of Indian art.
As fundamental research, present research historically indicatesthat the two civilizations follow same path in their concepts and manifestations that is battle against satanic forces. Iranian and Indian symbols and myths closely related to regional religion and beliefs where few manifested as gods and angles including boar, and lion.

Ibn Arabi is the founder of the Theory of Unity of Existence. Some of these people advocated Ibn Arabi and others opposed him. In this study, it has been attempted to address the different meanings of Existence and Unity. Ibn Arabi believes that existence belongs only to God and there is no existence except Him. It means that the God is existent in the universe and other things are not. The commentators of the Theory of Unity of Existence, then, explained its epistemological aspects.
Upanishads apparently emphasized a consistent principle, which is beings, entirely, material or spiritual, are overwhelmed by the reality sea, which is superior to tangible world, possesses infinite nature and is self-existent. Thus, although Upanishads clearly mentioned the Unity of Existence and in this matter it is similar to Ibn Arabi’s view, there is a clear distinction between the two of them. Ibn Arabi believes that there is no existence except God and the existence of the universe besides God is nothing but an imagery matter. In contrast, Upanishads consider the world as an existing really which is the manifestation of God. In the matter of the Absolute and the Conditional, Upanishads believe that the Absolute was the first, who is the One and only and has no equals. In spite of Upanishads, Ibn Arabi declared that the only absolute and non-conditional existence is God whose existence is necessary by its nature.