ایرج داداشی

Both Seyyed Hossein Nasr and Annemarie Schimmel are known  to researchers. they have  studies on Islamic calligraphy that have been  interest for researchers in the field of Islamic art. Nasr is one of the famous contemporary philosophers who is the harbinger of perennial philosophy, and Schimmel is a philosopher and researcher who is known as a Hermeneutics phenomenologist. Both researchers have important studies in the field of Islamic spirituality, which  are reference for academic research.  At the first, it seems that these two scientists have the same view about islamic calligraphy, but with closer view at their works reveals differences and similarities, which  that can be considered a sample of the convergence and divergence of phenomenological view and perennial philosophy. The purpose of this comparative study is research of Nasr and Schimmel`s views about islamic calligraphy and its spiritual aspects. The research question refers to the purpose. What are the differences and similarities Nasr and Schimmel's views about the spiritual aspects of Islamic calligraphy?  to what limit is the convergence and divergence of their views? The research method is comparison of views and theories, analyzing and interpreting them, and obtain concepts. The method of gathering is using of library sources. The Comparison`s results  indicate that despite the qualitative and semantic study of Islamic calligraphy by both researchers, considering that Schimmel's approach emphasizes cultural context, historical evolution and interdisciplinary research, the results of her studies are interpretations based on the minds and experiences of humans in the Islamic societies. While Nasr's approach is  based on metaphysical interpretations, which in his view is the main source of Tradition and the factor of achieving perfection and understanding beauty; Therefore, Nasr emphasizes the metaphysical and cosmological aspects of calligraphy, which are rooted in the teachings of the Qur'an and revelation of Islam, as well as Islamic philosophy; While Schimmel's focus on the study of calligraphy is deeply intertwined with the manifestations of Islamic mysticism and the cultural context of Muslims.

This article discusses the mythological interpretation of celestial patterns found on a starry bowl from the Iron Age Lorestan culture. Due to the abstract designs of Lorestan Iron Age bronzes and the lack of written sources, the interpretation of mythological patterns on these bronzes has been based on personal interpretations of researchers. The hypothesis of this research is that the religion and rituals of the Lorestan culture are connected to astronomy and celestial phenomena, and interpreting the celestial patterns on Lorestan bronzes can provide insights into their religion and rituals. The article focuses on a starry bowl with celestial patterns and Aramaic inscriptions, previously interpreted within the context of ancient Semitic cultures, but now being interpreted based on Indo-Aryan religions and ancient Iranian textual sources. The study is descriptive-analytical and relies on data collected from museum and library sources. According to the research findings, two sections, 4(a) and 8, have been identified with Ursa minor and Ursa major constellations and are symbolic of the cosmic balance pans, resembling a cosmic scale. Section 4(b), which embodies the ring and staff symbols representing the “pater” grade in the Mithraic ritual, has been identified with the celestial forms of 'Tishtrya/ Mirzam'. This section is considered as a symbol of the 'Gate of the ancestors' (= Pitri-yāna). In contrast, section 8 of the bowl is identified with the celestial form of ' Ursa major' and is considered as a symbol of the 'Gate of the Demons' or Hell. However, the most significant part of the bowl, the celestial pole at the center of bowl, is a symbol of the 'Gate of the Gods' (= Dēva-yāna). Those who, through their connection to the great secrets, return to their centers and the center of existence can pass through the 'Gate of the Gods', and attain eternity and become one with the unique essence of God. From the 'Gate of the Ancestors', they either return to the material world or experience gradual liberation through the levels of the heavens. Those who pass through the 'Gate of the Demons' or Hell are the ones who have returned to the material world more than three times. We have identified the two four-winged stars of sections 4(a) and 8 with the stars Tishtrya (= alpha Canis Major) and 'Spica'. They are considered as symbols of the two guardian dogs of the Chinvat Bridge and the cosmic scale. It appears that in Iranian tradition, the responsibilities of guarding the 'Gate of the Gods' and the 'Gate of the Ancestors' were assigned to the two deities ‘Mithra’ and ‘keyvân’ (Saturn). Based on some evidence, The Lorestan bowl is engraved with symbols related to pre-Zoroastrian tradition. On this bowl, the concepts related to gates are associated with "polar symbolism", unlike the Indian tradition in which the "Gate of the Gods" were related to solar symbolism and the winter solstice.

The nature of the religion and rituals of the Bronze Age Luristan metalworkers has always been met with conflicting interpretations. Among these artifacts is a bronze bowl dating back to the 8th century BC, featuring eleven celestial depictions and seven Aramaic inscriptions arranged in a meaningful configuration. Most researchers attribute the production of Luristan bronzes to Indo-Aryan groups such as the Scythians, Kassites, Medes, and Cimmerians. However, despite the universal acknowledgment of this artifact's origin within the Luristan Iron Age culture, previous studies have failed to interpret the cryptic motifs and concepts on the bowl within the mythological and symbolic framework of Indo-Aryan beliefs. This research hypothesizes that analyzing the celestial depictions on this artifact can shed light on the existing ambiguities surrounding the religion of these people. Therefore, for the first time, the celestial motifs of sections two and six of this bowl are analyzed based on the narrative and mythological concepts of Indo-Aryan religions and in relation to other Luristan bronze motifs.

This research is qualitative in nature and employs a descriptive-analytical approach. Data were gathered from library resources and museums. As a first step, the visual patterns of the celestial motifs in sections 2 and 6 were described. Since the pattern connecting the stars in section 2 of the bowl had been lost and this motif lacked a direct equivalent among modern constellations, it was necessary to reconstruct the overall celestial map at the time of the bowl's creation (800 BC) using the following methods 1) Utilizing the Stellarium astronomy software; 2) Aligning the constellations around the bowl with the modern zodiac and cardinal axes of the sky in 800 BC; 3) Consulting visual sources containing ancient constellations. After identifying the astral identities of the motifs, several sources were used to interpret the cryptic meanings of the celestial motifs: 1) Consulting astronomical themes and narratives embedded in ancient Iranian texts; 2) Consulting textual sources containing technical specifications and imagery of ancient sky maps, such as the MUL.APIN; 3) Consulting the cosmology of Indo-Aryan religions.

The primary challenge of this research was identifying the celestial body represented by section two of the bowl (a monkey-like figure within an arch). Through visual comparison, aligning the bowl's constellations with the modern zodiac, and referencing representations on the Bali drinking vessel, section two was identified as Gemini. While other scholars interpret this monkey-like figure (section two) as the god Thoth, its proximity to a solar disc on the bowl suggests a solar connection. Similar depictions of monkeys on other Luristan bronzes—brooches, spearheads, and seals—also relate to solar discs, lion heads, and solar motifs (a female figure surrounded by solar rays). This reinforces the association of the monkey constellation with solar themes.Furthermore, significant similarities between sections two and six (the monkey and Pleiades constellations) indicate an axial relationship. Therefore, from the diverse and heterogeneous semantic interpretations of Gemini and the Pleiades in various cultural sources, themes connecting these constellations to the sun and moon were selected. In Iranian tradition, Gemini represents the head of gōzihr Dragon, the beginning of the zodiac and the Milky Way—a serpent causing eclipses by its movement and consumption of the sun and moon. Section six, the Pleiades, in Elam, signified the Sibitti and lunar eclipses. Thus, these constellations seem connected to solar and lunar eclipses.Mesopotamian texts reveal that in Elam, eclipses symbolized a king's death and the decline of his reign. The "Kāvusan’s Path," another name for the Milky Way in Pahlavi literature, reinforces this axis's connection to royal legitimacy. However, how is this axis represented on other Luristan bronzes? Ancient Iranian astronomical texts, like “The Kitāb al-Bulhān of Abu Mashar”, depict animal constellations alongside these planetary deities in a visual representation like the master of animals. Conversely, a Luristan fibula shows a central human figure within a star, symmetrically holding two star-marked serpents. This imagery of a man holding two serpents symmetrically appears to represent the Hunter constellation and the axis between these two sections of the bowl.

According to research findings on the Luristan celestial bowl, sections two and six represent the constellations Gemini and Pleiades, respectively. Gemini symbolizes the head of gōzihr Dragon – the Milky Way serpent and lunar nodes. The Pleiades in section six are linked to the Sibitti, a constellation associated in Mesopotamian texts with Elam, the goddess Narundi, and lunar eclipses. Therefore, sections two and six of the bowl appear to represent solar and lunar eclipses.In ancient Iran, kings with divine authority, like Kayumars and Jamshid, whose earthly power was bestowed by the gods, were likened to the sun. Thus, in the ancient world, eclipses signified divine disapproval of the king's rule. Following the prediction of these celestial events, or upon their occurrence, ceremonies for the replacement king were held to avert the resulting ill omen from affecting the king and the kingdom. Supporting this interpretation, the Bundahishn refers to the Milky Way as the "Kāvusan’s Path." Kaveh was a king who, due to his arrogance and misguided ambition, sought dominion over the heavens in addition to the earth. He ascended to the heavens on four eagles, but his divine authority was subsequently removed. Therefore, solar and lunar eclipses were visualized as a serpent-dragon, through which the gods exerted their will in controlling the fate of kings and kingdoms.Alternatively, the "Kāvusan’s Path" represented the path of tyrannical kings who misused their divine authority for their own selfish ends and were thus cursed and punished by the gods. On certain brooches and seals from Luristan, Giyan, and Susa cultures, a goat-man controls two serpents flanking his body. In most instances, the serpents' bodies are adorned with star patterns. Therefore, this imagery seems to represent a combination of the human and goat constellations at the bowl's center, with gōzihr symbolizing the axis of sections two and six, representing the gods' power to alter destiny and punish tyrannical kings.

By studying Islamic wisdom texts and the prefaces of calligraphy treatises, one can understand that within the tradition of Islamic calligraphy education and training, individuals fundamentally regard art and every human profession and action as a pathway to achieving human perfection.In Islamic wisdom, the correlation between thought and action illustrates that knowledge derived from thought not only exists as a conceptual idea in the mind of a Muslim, but, when put into practice, it leads to the personal elevation and perfection of the individual. Thus, it differentiates knowledge from useless science, and action based on knowledge becomes the way for an individual's existential transformation towards perfection. However, in the Western world, particularly following the beginning of the Renaissance, wisdom was relegated to the realm of common rationality among humans. Consequently, the domain of rationality has been fragmented into separate unites. According to Kant's scientific tradition, the three faculties of knowledge, the feelings of pleasure and pain, and the faculty of will were respectively attributed to pure reason, judgment power, and practical reason. According to this view, art is arisen of feeling and is cognition with power judgment.In return, the foundations of traditional wisdom and its resurgence in the perennial contemporary philosophy’s school, is based in tradition, sacred knowledge, and spirituality. Viewed from this vantage point, the development of Islamic art and calligraphy, guided by non-historical and non-temporal principles, is influenced by the truth of religion and the essence of Islam. The prefaces and treatises on calligraphy education left by traditional calligraphers serve as evidence of this wisdom and spirituality. The art of calligraphy holds a special place among the numerous branches of art in the Islamic world. In the early 20th century, German researcher, Ernst Kuhnel, raised certain issues about Islamic calligraphy. It is necessary to analyze and critique his view with a different approach in order to separate the correct viewpoints from the incorrect ones, while avoiding the prevailing spirit of his thoughts. This can be done by explaining his thought in an organized framework. The purpose of this study is to analyze and to conduct explanatory critique of the position and importance of Islamic calligraphy from the views of Ernst Kuhnel. This study’s questions are that how has Kuhnel explained the relation between Islam, art, and the theoretical foundations of calligraphy? Furthermore, what are the differences and similarities between his views and what is mentioned in the treatises of various calligraphy periods?The research method is descriptive-analytical-critical. The method of gathering data is using library and documentary sources. The set works of the German Orientalist Ernst Kuhnel that specifically are his views about Islamic calligraphy have been gathered. Since some of Kuhnel's explanations about Islamic art include calligraphy, as a subcategory of Islamic art, his views about Islamic art are also to be discussed. Kuhnel's views about the meaning and spiritual nature of Islamic art and calligraphy have been analyzed and critiqued  with  critical view to the subject based on the prevalent insight of this research, the traditional wisdom of contemporary traditional philosophers. It is placed in the tables for comparison. Regarding the traditional critique, both the typical method of this attitude, and the treatises and educational prefaces of calligraphers are used as testimonies and justifications of the criticisms. The research finding indicates Kuhnel's views as a positivist researcher. Although he regards the art of Islamic calligraphy as being based on the Book of Revelation, the Holy Quran, he believes that Islam has limiting role on figurative art, consequently stimulating the growth of calligraphic art to prominence. He claims that the function of calligraphy primarily revolves around serving the power and preferences of rulers, under the influence of Islamic ideology. In return, in traditional philosophy’s view, while religious teachings may impose certain limitations on art, attributing ideology to Islam is considered a fallacy and serves as the source of other misconceptions in the interpretation of knowledge and art derived from its texts. Islam possesses a holistic nature and cannot be equated with human beliefs and solutions, nor can its precepts be extended to encompass those beliefs and solutions. The spiritual wisdom of Islam is manifested in the form and essence of calligraphic art. Unfortunately, due to the reduction of religion to the level of ideology, this crucial aspect has often been overlooked. It is evident from the treatises on calligraphy that the components of calligraphic art harbor a spiritual dimension, and its function is symbolic. The artist, through calligraphy, attains knowledge, pursues perfection, and embodies it within the art itself. Regrettably, this particular aspect seems to have been eluded in Kuhnel's studies, as he has overlooked the explicit emphasis on Islamic spirituality in the treatises of calligraphy.

In traditional perspectives derived from divine revelations and teachings, the belief was that both the world and humanity represent facets of truth, with the world being as the macrocosm and humanity as the microcosm. This perspective leads to another principle, which is the harmony between the macrocosm and microcosm. According to mystical teachings and religious interpretations, the world consists of hierarchical levels, and each level, as a symbol of a higher rank, corresponds both partially and entirely to another level. The research question is how Iranian and Islamic paintings, when viewed through a perspective that emphasizes the correspondence between the microcosm and macrocosm, are perceived and interpreted. Every aspect of an artist's imagination, whether rational or imaginary, and sensory perceptions, all represent facets of truth. The mystic artist, consciously or unconsciously influenced by this spirit of the traditional world, engages in creation, and their artwork in a way alludes to truth. This study aspires to analyze three works from the Tabriz II School of painting germane to the story of Layla and Majnun. The main thrust of the study is to comprehend and present the visual components in the correspondence between macrocosm and microcosm as taught in the Islamic mysticism school for analyzing Iranian painting and deriving novel insights from it. The research is both descriptive and qualitative, using analytical and interpretive methods based upon Ibn Arabi's teachings. Data collection involves observation and study of printed and electronic sources. The results indicate that most paintings are not solely reflections of the external world or narratives but rather refer to the relationship between "humanity-nature-world" and the flow of love in the elements of existence; it is as if the artist portrays the reflection of these two worlds and the flow of love within the pillars of existence.

Beauty is one of the fundamental concepts in Kabbalah mysticism.Kabbalah is the main current of mystical tradition in Jewish religion.In this mystical theory beauty is considered as one of the divine manifestations of God.The companions of perennial philosophy also discussed this concept as an important concept in the mystical theories of the pre-modern era.They contrast this concept with the modern perception of it and consider God as a source of beauty.The problem of this research is what beauty is in Kabbalah according to the approach of perennial philosophy.Research questions are:What does beauty mean in Kabbalah?What topics are this concept expressed under?This research with the approach of the perennial philosophy and referring to the opinions of Jewish scholar Gershom Sholem aims to analyze and explain the concept of beauty in this mysticism.The goals of the current research are to explain the concept of beauty in the Kabbalah and to explain the topics under which this concept is expressed.The results show t:beauty is used with the term Tiferet is mentioned under the topic of God's manifestations and it means harmony and balance.This is a universal harmony that includes the harmony between the two attributes of God,harmony in the world and human soul.

Characters, elements and motifs can be seen among the paintings left from Ilkhanid and Timurid periods which are not only no trace of them can be found in earlier periods, but also cannot be studied or recognized by sources such as pre-Islamic painting, Manichaean art, Sogdian painting, Chinese art, and even Christian art which had an effect on Persian painting.
With the domination of Mongol in Iran and the establishment of the Ilkhanid dynasty prevailed different political, cultural, ideological and religious conditions in this region. In addition to the shamanic beliefs that the Mongols believed in, most Ilkhanid rulers chose Tibetan Buddhism as their official religion. As a result of this and their support, many Buddhist monks entered the court of the Ilkhans from Tibet and Kashmir. They appeared in court as "Bakhshi" and built many Buddhist temples in Iran.
Tibetan Buddhism has a very rich pictorial tradition. This pictorial tradition is the result of a combination of mental imagery in the shamanic and “Bon” beliefs , with Buddhism Which has been able to create one of the richest pictorial traditions of Buddhist art in this region. Now the question is: whether the pictorial tradition of Tibetan Buddhism could have been an influential source in the emergence and formation of these elements in Mongol painting.
The aim of this study is to place the pictorial tradition of Tibetan Buddhism as a source along with other influential sources on the painting left from Ilkhanid and Timurid periods. The method used in this research is based on inductive reasoning. The evidence which is presented to substantiate this claim will be pursued in two ways: First, the evidence of the presence of Buddhism in Iran and its relationship with Tibet in historical texts. Then, images and paintings from the Ilkhanid and Timurid periods that have the influences of Tibetan Buddhist art are studied in three section: form, structure and composition, context and subject, and finally the Images created by descriptions provided in the historically texts. In the last section, possible criticisms of the discussed manuscripts and the position of the pictorial tradition of Tibetan Buddhism in relation to other sources will be answered. It seems that the Mongols beliefs in Tibetan Buddhism and in general the mental patterns of the Mongols before entering Iran and facilitate communication across their vast territory from east to west. In conclusion, we can say that the arrival of Tibetan Buddhist monks in Iran due to the support of the Ilkhanid rulers and the construction of Buddhist temples in different parts of Iran have been effective in shaping elements and motifs. This result can introduce Tibet as a source for understanding Iranian painting along with other sources and factors which had an effect on the Ilkhanid and Timurid painting.

Over the past three centuries (19th, 20th, and 21st centuries), the study of Islamic decorative art has gained significant attention from orientalists, archaeologists, historians, and scholars of Islamic art. During this time, various perspectives on decoration have emerged, ranging from universal approaches that view Islamic decoration as a mystical and symbolic phenomenon to formalist considerations emphasizing its role as a national and cultural identity. The purpose of this research is to examine the evolution of the perspectives on decorative functions in the field of Islamic art studies. The research question guiding this study is: what has been the trend in the development of the art history and semantic functions of decorations in the material culture of the Islamic lands?

To address this question, this study employs a four-fold approach to examine decorations: the exploratory-typological approach, the early-historical (historical-stylistic) approach, the universality approach, and the later-historical (cultural-contextual) approach. Each of these approaches is utilized to scrutinize the functions of decorations within the field of Islamic art studies.

Through an examination of studies conducted during the 19th, 20th, and 21st centuries, it has been observed that Orientalists encountered Islamic decorations as a newly discovered phenomenon in the 19th century. The predominant functions assigned to decoration during this period were associated with Islamic lands, with the Orientalists interpreting these functions as derived from the religion of Islam and the cultures of the East. Additionally, scholars such as Albert Gayet and James Ward made comprehensive efforts to study Islamic decoration. At the beginning of the 20th century, a new generation of historians approached Islamic decoration from historical and stylistic perspectives. This period sought to interpret Islamic decoration in terms of both symbolic and stylistic functions. Researchers such as Ernst Hertzfeld and Richard Ettinghausen introduced cultural and social values into the study of decorations, laying the groundwork for later historical studies in the 20th and 21st centuries. Furthermore, in the 20th century, there emerged universal approaches that attributed common characteristics to decorations through trans-historical interpretations or psychological analyses. Traditionalists such as Hossein Nasr or Titus Burckhardt ascribed symbolic meanings and universal characteristics to decoration. Ernst Gombrich, drawing on the theory of perception, proposed that decorations had a similar impact on viewers' reception, with the pleasure derived from discovering rhythm playing a significant role. Ernst Gombrich also suggested that the viewers' inclination towards projection, reification, and animation influenced their responses to decoration and their interpretations.In the second half of 20th and the 21st centuries, studies on decoration has placed a greater emphasis on the perspective and interpretation of the audience, seeking to consider the background and context in which artworks have been created. Oleg Grabar can be regarded as the most influential scholar in the recent historical studies as his research delves into historical and cultural sources to establish more precise meanings and historical functions of Islamic decoration. During this period, the role of the audience in determining the function of ornament has become more pronounced.

The research findings has revealed a diversity of perspectives that emerged in the recognition of the functions of decoration. In the exploratory-typological approach, the formal function of decoration is dominant, with decoration serving as a visual expression of new religious features imbued with ethnic, racial, eastern spiritcharacteristics. In the early-historical approach, decoration is often perceived as a symbolic or meaningful element, serving as a starting point for reflections on the discovery of meaning and an examination of the historical and cultural backgrounds of decoration. The universality approach is divided into two distinct areas. In transhistorical studies, the function of decoration is characterized as transcendental, representing the divinity and unity of God. In psychological studies, the function of decoration and its effects on human behavior, choices, and psychological states are emphasized. With the emergence of the later historical approach in the second half of the twentieth century, there was a focus on the perception and interpretation of decorative patterns by the audience with an emphasis on the aesthetic and semantic functions of decoration.Bbased on linguistic studies, decoration is addressed as a cultural sign.

In every civilization, we face art that is like a mirror reflecting religion, customs, etc. In the contemporary era, the school of thought that paid attention and re-recognized art in traditional civilization is the school of traditionalism, and the followers of this style of thinking are called traditionalists. In the traditionalist’s thought, art in the traditional civilization, in which nothing outside the scope of tradition that is in line with divine truth has the right to exist, has its own definitions, which are called “artistic”. On the other hand, in our civilizational background, we are faced with handicrafts, which is a production relying on hand power, and is not considered art in the common definition. In order for handicrafts to be placed in the field of art, we will face issues that can be pointed to such as: The creativity of this handicraft, its practicality, its integration with everyday life and other things in this art. Considering the meaning that traditionalists in modern and traditional society has towards art, it can be used to evaluate the artistic value of handicrafts. In this regard, we are faced with the question of what is the relationship between traditional art and handicrafts from the perspective of traditionalists. The research method in this article is descriptive and analytical, and the means of collecting information is based library research and data collection. In this article, by comparing the concept of traditional art and its characteristics with the concept of handicrafts and its related characteristics from the thought of traditionalists, we will reach the conclusion that handicrafts are in the framework of the concept of traditional art and the characteristics traditional arts is obvious in handicrafts and handicrafts is considered one of the most obvious manifestations of traditional art. In this way, the problems that occur in modern thinking on traditional and art vision can be solved.

Statement of the Problem: 

Looking at the developments of painting in Iran, we have witnessed the spread of the painter's signature or the insertion of his name since the Timurid period in Iran and the lands influenced by Persian culture such as Gurkan India. Among the works of this period, "Gulshan Album (Muraqqa'-e Gulshan)" has a special place because of the direct supervision of Jahangirshah (Gurkan) in the collection of pieces, from the two aspects of the number of signed works and the method of signature, which differs from the Isfahan school. The key question is "In "Gulshan Album (Muraqqa'-e Gulshan)" and in Jahangirshah's era, in which way and in what structure did the painters design their signature and what meanings hide in their signature form"?

To identify the placement method of the signature in Gulshan Album's paintings in terms of form and structure and to discover its hidden meanings which is to reveal the relationship between the composition of signatures in the work, with the artist's motivation in representing his social position and establishing interactive (interpersonal) relationships with the viewer through the signature method.

In the current research, by using library resources and directly observing the paintings and signed margins of the inscriptions in the Gulshan Album, the data was collected; Then, five non-random samples of signed works were selected, and each one was analyzed according to the research objectives by visual reading method based on the three metafunctions of composition, representation, and interaction.

Results: 

 Three results were obtained in the examination of signed paintings. First, five compositional patterns were identified in terms of structure in the signed paintings; Second, the narrative and conceptual relationship between the composition method and the verbal content of the signatures with the social position of the painters in the court and their relationship with the production of Gulshan Album was revealed. Finally, by observing the arrangement of signed paintings in different dimensions, distances, and sizes, the motivation of the painters in interacting with the viewer was revealed.

Disagreements On visual narratives, especially Still narratives, had hindered the development of visual narratology until the 1980s. Linguistic narratologists rejected any positive interpretation of the narrative based on two important characteristics of linguistic narrative: the repetition of elements in the sequence of time and the causal order of events. Art historians, with a positive approach and emphasizing the fundamental distinction between linguistic and visual narrative, have shown that linguistic narratives work better in temporal analysis (sequential narrative) and visual narratives in temporal integration (Static narrative). This article examines the typological studies of narrative in the history of art, with the aim of examining the types of visual narratives in non-European art; Examines 3 examples of studies of Armenian murals in Isfahan Julfa: first, by experimental indicators involved in the meaning of the narrative ("episodes" and "references") in the method of " Gyongyver Horvath`s reference analysis", static and Sequential visual narratives To be analyzed in study samples. Then, in addition to the visual indicators that make up the meaning of the narrative in the Horvath method, the proposed indicators were also examined. The results show that the indicators of "conversation" and "Gaze" can be added to the diagnostic indicators in the reference table as “reference signs”.Disagreements On visual narratives, especially Still narratives, had hindered the development of visual narratology until the 1980s. Linguistic narratologists rejected any positive interpretation of the narrative based on two important characteristics of linguistic narrative: the repetition of elements in the sequence of time and the causal order of events. Art historians, with a positive approach and emphasizing the fundamental distinction between linguistic and visual narrative, have shown that linguistic narratives work better in temporal analysis (sequential narrative) and visual narratives in temporal integration (Static narrative). This article examines the typological studies of narrative in the history of art, with the aim of examining the types of visual narratives in non-European art; Examines 3 examples of studies of Armenian murals in Isfahan Julfa: first, by experimental indicators involved in the meaning of the narrative ("episodes" and "references") in the method of " Gyongyver Horvath`s reference analysis", static and Sequential visual narratives To be analyzed in study samples. Then, in addition to the visual indicators that make up the meaning of the narrative in the Horvath method, the proposed indicators were also examined. The results show that the indicators of "conversation" and "Gaze" can be added to the diagnostic indicators in the reference table as “reference signs”.Disagreements On visual narratives, especially Still narratives, had hindered the development of visual narratology until the 1980s. Linguistic narratologists rejected any positive interpretation of the narrative based on two important characteristics of linguistic narrative: the repetition of elements in the sequence of time and the causal order of events. Art historians, with a positive approach and emphasizing the fundamental distinction between linguistic and visual narrative, have shown that linguistic narratives work better in temporal analysis (sequential narrative) and visual narratives in temporal integration (Static narrative).

For the "Art" word in different Persian texts, words such as industry have been used. Basically, to explain the essential of the Art word, there is a group of Avestan texts and a group of Pahlavi texts. It seems that for the epistemology study and semantic cognition of ancient art dealing with the words art as Ho, and Woo is not enough. In this research, some excellent and epistemological concepts of art will be mentioned to approach the concept of Art and profession more precisely. Since the arts in the traditional world belong to the same type and order with knowledge and science, it will also have a symbolic meaning because they inherently pay attention to the specific relationship between the levels of the universe. In other words, they originally are symbolic and indicating the relationship between the levels of existence, instinct and nature of the arts. In fact, art is the basis for secrecy and spiritual access.The realization of virtue and its method is based on the teaching that is the model of human wisdom. Such a comprehensive and inclusive doctrine can only arise from absolute truth and pure goodness, because the nature of this doctrine makes it a model for man.Art is the appearance of the pure and beautiful soul of the artist, which is reflected in his works and artistic style, and the language of art, like the language of mysticism, has a symbolic aspect. Art is the most subtle and delicate manifestation of the artist's perception and the manifestation of the face of universe, which originates from the superior worlds of the universe and the artist's superior imagination. Therefore, the spirit of art in its highest manifestation is a kind of manifestation originated from the manifestation of beauty and the beautiful face of truth in the soul and imagination of the artist. Man is also a clear mirror and a beautiful manifestation of the whole of truth, and he has been created in a divine way. "God created man in the image of God". The human soul, since it is attributed to the essence of truth and is a mirror of absolute divine beauty, has an amazing beauty that, according to Victor Hugo, is more mysterious than the beauty of nature and the beauty of the sea and even the sky. Beauty is related to truth and all perfections art beautiful. According to Vandidad Fargard II, in Jamshid's story, the first reference is made to the art of architecture to build a house and a room, and doors and windows to use lighting and decorate rooms with a red coating. According to the cosmology of ancient Iran, goodness and beauty are real in the higher world, and man, by his nature, seeks closeness through resemblance and creation to them. This closeness, according to the principles in Iranian wisdom, has been done with awareness and similarity to this reality is based on truth, goodness and beauty.Since human is the only direct representation of God in the sense of an ascending and perfection-oriented form with a content of totality and comprehensiveness, according to his divinity, and the validity of his divine image by understanding and intuition of God, is a work of art and  is also an artist.Human art can be spiritual or material art in terms of application and content, and in the words of this world or that world. In terms of content and application, art is not entirely material in the realm of civilized art as well as traditional art; because it’s driving force is mainly cryptography and spiritual subjects. Although in the early period, art was limited to the production of tools and tools for work or worship, this construction activity is in the realm of worship rituals and is accompanied by a kind of cryptography. Therefore, it is obvious that it ignores the aesthetic purpose. So, firstly, the beauty of the works is intrinsic and results from their spiritual truth, and secondly, it is broadly due to personal intuition. Careful coding and creating fruitfulness for specific purposes, whether for religious or mystical purposes or for practical purposes, prevented ugliness from reaching these works. Therefore, without paying attention to the quality of aesthetics, beauty as a secondary truth in the form of aesthetic intuition is present everywhere in the works. The basic truth of creating the perfection and coherence of the spiritual nature of the work reduces the importance of the discussion of its visual beauty, which is definitely an innate and inner need of human beings. But something beyond the material world; it determines the cosmic quality and spiritual content of the work, as well as the virtue, wisdom and ingenuity of the creator of the work, and causes him to explain the collective values.However, in a sense, the objective and external aspect of industry and the semantic aspect are mystical and heavenly truths that are provided to the constructive thought and sense with inspirations, and with the help of it, he receives a perception of it in his dignity and rank that enables him to express it. The emergence of the invisible in the form of the visible makes the same knowledge or wisdom of that industry even it comes from mind or hand and the tongue. This art is very far from what is called art from today's perspective. By referring to the art section, it is concluded that according to what is contained in traditional texts, all human creations are called art based on reason. Art means to make anything in the end, perfection and beauty worthy of it and the artist means a human being in the perfection of goodness or in the end of perfection and beauty who can give this attribute or quality to anything. Therefore, without paying attention to the quality of aesthetics, beauty as a secondary truth in the form of aesthetic intuition is present everywhere in the works. The basic truth of creating the perfection and coherence of the code or the spiritual nature of the works reduces the importance of the discussion of its visual beauty, which is definitely an innate and inner need of human beings. But something beyond the material world; it determines the cosmic quality and spiritual content of the work, as well as the virtue, wisdom and ingenuity of the creator of the work, and causes him to explain the collective value.Art must express truths that depend on constructive beliefs and intuitions through its definite dimensions and patterns. Art is objectivity of the heavenly Word. The heavenly Word is esoteric for the person benefiting from talent and is apparent for the ordinary human being. So, those part of human creation which is through the issuance of heavenly words and spiritual truth, including visual and intuitive works, architecture, music, literature, and even the tools are art. Also every nurturing on his body, and soul, is art (heroism and bravery). Therefore all of these types of creations and completions could be called Art.

In traditional societies, there is no difference between artist and craftsman, and this difference is something today. Human activities in traditional society have been considered to be based on principles. For this reason, human activities became transformed and took on a sacred character. Jewish society was considered a traditional society before the modern era. Like other traditional societies, the focus of their lives has been on revelatory teachings (Torah and Talmud). Among them is the concept of arts and crafts. The aim of the present study is to examine how art and craft developed in the Jewish tradition. Research Questions: How did arts and crafts evolve in Hebrew society? What is the importance of arts and crafts in Judaism? What spiritual etiquettes do the crafts have? Leading research collects, compiles, and categorizes material by referring to relevant sources, especially traditional and Jewish sacred texts, and then draws inferences by analyzing, interpreting, and describing the collected findings.The purpose of this study is to investigate the development of art and craft among the Hebrews. The results show that crafts in Judaism have a divine and revelatory origin. Having a crafts is very important. arts and crafts have etiquette that one must follow.

This paper studies “curse” and "cursing" in the royal Elamite inscriptions. In general, curses put forth a condition ignoring which would invoke an outside power, usually of a deity, to mete out punishment to any malefactor. Thus, this research examines "curse" and "cursing" concerning two specific subjects: first, the preservation of royal "names", and second the use of a curse to uplift the position of Huteluduš-Inšušinak, a Middle Elamite king in the late twelfth century BC.It makes clear that “curse” was mainly used to preserve the “name” of kings and queens. The “name” not only identifies a person, but in a more general sense it also conveys “offspring” and “continuity”. This study shows how the king asks the gods to preserve his name as well as his descendants. Indeed, a “curse” would assure the sovereigns that his name, memory and the royal line would survive all possible damages and threats, and thrive in the future.Huteluduš-Inšušinak suffered a series of devastating attacks commanded by Nebuchadnezzar. Other historical documents point out that the Elamite power was on the wane during the reign of the Elamite king. Nonetheless, he issued a curse that invoked one god and two historical figures, instead of invoking a group of deities.

One type of the rites in different religions that plays an important role in human life is healing rite, one of which is Zār ritual that is a combination of technology and ideology and study of its religious and mythological aspects illustrates important phases of this kind of therapy in order to help us apprehend the worldview and cosmology of holder traditional societies and consequently conduct us to understand their ideas about disease and healing concepts in this framework. One of the most important characteristics of such rites is having belief to other world with different order and beings which create both illness and healing. Perhaps this ideology is a factor that points out function of religion and myth in the healing. So this article is about this rite aiming to study the religious and mythological roots of  this rite from theology point of view with focus on Mircea Eliade and his interpretation of dialectic of the sacred .This is a qualitative field research that has been used documents, observation and interview in data gathering. We traveled to different cities of Hormozgān province and two cities: Ābādān and Arvand-Kenār in Khozestān province to directly observe the ceremonies of two types in Bandar-Abbās and Mināb and also we interviewed with holders including healers, healeds and local informants. As documents we used books, articles and documentary Farsi and non-Farsi films.

The narration of flowers and chickens could be analyzed by the Panofsky iconology method. But here we are dealing with a motif that clearly does not deal with a particular story or event. Therefore, the content analysis of the work in this step must be done in a methodical and systematic way. In this article, a method of using the method of Gilbert's mythology of the time is considered by the author. The essence of Islamic art and consequently Islamic-Iranian painting, of which flowers and chickens are a small part. It is derived from the worldview and ideology of Islam and the source of its artistic creativity has a pre-textual system of representation. And its roots can be found in the archetypes, myths and mystical-romantic literature of Iran. In repeated encounters, the bird and the tree establish a cycle that continually creates and exalts. Behind every encounter with birds and trees lies a force or force that leads to a new creation. So, the archetype of the bird and the tree is the "new creation".

The purpose of this article is to understand the art of the Safavid period from Mirfanderski's point of view based on the thinking of the Peripatetic and to examine the sources and methods of description, interpretation and logical analysis. The survival of the work of art with the idea behind it and the immortality of the artist's name with knowledge, imagination and the ability to formulate meaning; May be. In that period, art as a virtue was a common feature of all members of society, regardless of their class. In Iran, the main duty of the princes is to protect the property, religion, order of the land and its attainment towards prosperity, excellence and the expansion of justice. The excellence and divinity of the affairs of the land, including the correctness of the affairs done by the craftsmen, is influenced by the performance and thinking of the prince or prince. In his industrial treatise, Mirfanderski claims that the industry is declining and its intensity is diminishing, in the sense that the Safavid princes made a mistake and lost their forehead and their oppression became widespread. One of the most important factors in achieving happiness in society; Thinking, creativity and perseverance and avoiding loneliness in work based on need are under the supervision of a wise ruler.

All works of art include the common element of form as one of the most important aesthetic elements. At the same time, all forms and types of art have a variety of expressive forms that convey their semantic content through the media and sensory channels to the audience. In this sense, the aesthetic element of the form in works of art represents the most important features of sign systems. The structure of this element is compatible with Pierce's triple sign structure, namely representation, interpretation, and subject, and the process of forming the sensory experience of form, which is combined with interpretive notions in artwork, can also be formulated by Peirce's concept of abduction. Comparing aesthetic form with linguistic structures, the common expressive features as the double articulation and the information base can be seen as two sign systems shared by both language and art.Form in the artwork has textual and perceptual codes, and can also be analyzed within the framework of Jacques Fontaine's tensive process, an analytical model of the processes of the creation of meaning in the form of modern semiotics. Thus, the four patterns of the tensive process are also visible in the process of aesthetic perception. Analyzing these patterns in sacred architecture, minimal art, gallery art architecture, and the application of music in cinema, we examined the conformity of these patterns. By analyzing all the above-mentioned features presented in the text, it can be concluded that the aesthetic element of the form in works of art is also a type of sign system and can be well analyzed by classical and modern semiotic research methods. It should be pointed out that this research is an analytic-descriptive study.All works of art include the common element of form as one of the most important aesthetic elements. At the same time, all forms and types of art have a variety of expressive forms that convey their semantic content through the media and sensory channels to the audience. In this sense, the aesthetic element of the form in works of art represents the most important features of sign systems. The structure of this element is compatible with Pierce's triple sign structure, namely representation, interpretation, and subject, and the process of forming the sensory experience of form, which is combined with interpretive notions in artwork, can also be formulated by Peirce's concept of abduction. Comparing aesthetic form with linguistic structures, the common expressive features as the double articulation and the information base can be seen as two sign systems shared by both language and art. Form in the artwork has textual and perceptual codes, and can also be analyzed within the framework of Jacques Fontaine's tensive process, an analytical model of the processes of the creation of meaning in the form of modern semiotics.

In order to perceive healing experiences in healing rituals, it is necessary to fully understand and comprehend the worldview of the believers, which is possible through the cosmological study of the healing rituals and beliefs. Cosmology is considered to be the conception of the nature and action of the universe, which determines the exact position of mankind and other creatures within the world system. Healers can utilize cosmology as a guide for themselves in order to determine their position, the inhabitants of the tribe, and the forces that assist them in the healing process in the relevant rituals. This study has used the anthropologist Bronislaw Malinowski’s needs theory and its method is based on field, documentary, and analytical studies. Regarding the field studies, some major examples of healing rituals in Iran related to Ahle-Hawa and believers of the winds in Hormozgan and Khuzestan provinces Such as Zār, Nobān, and Mashāyekh rituals have been observed directly, as well as conducting interviews with local organizers and informants. Regarding the documentary studies, numerous books, papers, and subject-related documentaries in Persian and Latin have been reviewed. In conclusion, by comparing traditional Iranian and African cosmology as the ideology of similar rituals in the field of treatment and therapy in their respective cultures, and also by looking at the Shamanic ideology and techniques, two different types of interpretation - scientific and ideological- regarding disease and treatment have been studied and analyzed. It is probable that more desirable results for the treatment of some diseases can be achieved through utilizing these two interpretations simultaneously.

A vast majority of specialists in the field of rites are of the belief that the ritual is a phenomenon that they can NOT recognize unless they observe it. Most of the rituals have elements in common but differ in their function and purpose. One type of ritual that plays a significant role in human life in many cultures with different religions is the “Healing Ritual”. Since mankind and its needs, in particular, the issue of healing in a therapeutic phenomenon is important during the process of studying therapeutic rituals carried out by theologians, ethnologists, and anthropologists, all aspects of the researches revolve around humans. For this reason, the dissertation aims to investigate two significant stands, one from the scientific view represented by Malinowski and the other from theologians represented by Eliade. In the process of this study, we get close to the possibility that biological humans and religious humans lie in a situation in which they are coincided in the critical moments, the ritual situation in which they take action to solve the crisis. The research methodology is based on field, documentary, and analytical studies. Regarding the field study, direct observation of the Zār therapeutic ritual, as well as interviews with local organizers & informants in this field have been conducted. Regarding the documentary study, Persian & English books, research papers, and documentaries relevant to the subject have been reviewed.

Persian painting is one of the most beautiful reflections of Islamic art, and its spiritual revolution roots in values of society which are manifested through Islamic architecture and decorative elements. Evidence supports the fact that painter of “The first sermon of Imam Hassan ibn Ali” painting was under the impression of architecture in the Safavid era. This painting was illustrated by Qasim ibn Ali, who was a contemporary of Bihzad and inferior to him in his artistry, based on Mohammad al-Husaini al Varamini’s masterpiece Ahsan – al-Kibar (1526). This manuscript has 39 Persian paintings and now is in the National library of Russia in Saint Petersburg. Very little is known of Qasim -i Ali’s life, but judging by the less vivid palette of this copy’s miniatures in comparison to those of Tabriz in 1520s, one can assume that he worked in Herat and was still alive in the mind-1520s. During the rule of Timurids, Shiism grew more powerful while Sunni Islam tended to lose influence, which paved the way for the Shiite teachings to prevail further. Eventually, the Safavid Sufi-Shia movement established the Twelver Shiism as the official religion of the country in 1502. The connection between Sufism and exaggerated (ghulat) ideals of Shiism had a profound effect on turning it into a political-religious movement. Although these exaggerated Shia beliefs were not in conformity with the original ones, they were so dynamic that eminent figures such as Sheikh Junayd were encouraged to make efforts, which eventually resulted in the establishment of the government in the 16th century. The Safavid rulers, who took power afterwards, spared no attempt to expand and strengthen it even further. Shiite religion is one of the main foundations of creating artworks among Islamic artists. Shiite principles were based on verses of Quran and narrations of Prophet (p.b.u.h) and his family. In verse 3 of surah Maeidah: “…This day I have perfected for you your religion and completed my favor upon you and have approved for you Islam as religion…”, Imam Ali (as), who has been directly appointed by Allah and introduced to community of Muslims by prophet Mohammad in Ghadir Khom, is an evidence of necessity of accepting rightful succession of the prophet. Shia believes Allah chose Ali (as) as successor of the holy Prophet who continued his teachings among people after his passing. The method of Shiite manifestation has been varied during Islamic art history in Iran and depended on the ruling governments in different periods (Shiite or non-Shiite). When Shia had restrictions in expressing their beliefs, they had to deliberately turn to symbols and metaphors, but whenever Shia got the opportunity to become the official religion (as in the Safavid era) artists could show their beliefs through architecture and decorative elements easily. Islamic art lays its real nature on two elements, namely wisdom and technique. The main purpose of this research is to conduct a comparative study of the Architecture and the Persian painting of Safavid era through structural and conceptual common elements. Shiite principals dominated on design and ornaments of architecture of this period and Persian painters were influenced by them. Therefore, this research focuses on identifying the thoughts which provided grounds for the creation of such designing and decorative elements on architecture of the Safavid era; as semantic and decorative elements in architecture are one of the significant tools in hands of governors to develop their religious policies and beliefs among people in every period. Iranians have presented some of the greatest artworks based on Shiite view and artists could express beliefs of Shia through visual elements. Imamate and believing in Imam’s right to guide people after the passing of the prophet Mohammad are one of the two most essential and basic beliefs of the Shiism which is the real Islam. Being suppressed and having a strong will to establish Imamate have constantly been remarkable among the Shiite communities. This feature has found its way into art. Using symbols and ironies in the Shiite art has been widespread during different periods in Iranian art and culture. Also using geometries was mostly meant to help recall the manifest intellectual stages of Shiite school in artworks. Research findings show that the connections of precise appropriateness of ornament and symbolic and overt language of sacred geometry of architecture in this painting clearly reflect deep Gnostic thoughts of Shia. This masterpiece was painted based on Shia wise thought and culture.

The systemic perspective does not only apply to living organisms, but also a wide range of cultural systems such as language and social behavior in human communities. A vast volume of interdisciplinary researches was carried out in the field of social sciences and cultural studies with the purpose of using the behavioral patterns of the living systems in order to study the development patterns of the cultural elements. These studies indicated that the complex systems share similar patterns and behaviors at the macro-level. With regard to these researches, the present qualitative study with systemic perspective, analyzes the similarities and differences between the reproduction patterns at a biological level and the reproduction and publication of meaning/information elements at the cultural level. Afterward, the results were generalized to the sign system - concentrating the artistic signs and symbols- in both semantic and morphological dimensions. The present study revealed that the properties of two reproduction strategies in nature, i.e. r-selection and k-selection, could be generalized, at the macro-level, to the reproduction of artistic signs and symbols at a cultural level, despite the obvious differences in the details. Taking into account these similarities in reproduction patterns, with an interdisciplinary perspective and different from other popular analyses, could lead to a different understanding of the reasons for some developments in the amount of reproduction and development of sign systems in various communities.

Linguis tic and visual media differentiation is a paradigm firs t introduced by Lessing in art his tory. The Time-Based nature of Poetry in the sequence of events and the Place-Based nature of Painting in the simultaneous description of phenomena, s till cause disagreement among linguis tic narratologis ts and art his torians in the narration of single images. This research tries to answer these two ques tions in a descriptive-analytical way and collecting documentary data, with the aim of examining the methods of representing the narrative time in single images (paintings): Do images represent only a single moment of an event? Compared to linguis tic s torytelling, does visual s torytelling lack the basic criteria of narrative? As a result of the present s tudy, focusing on the cons tituent elements of narrative and applying the main criteria for defining narrative in linguis tic and visual media on a s tudy sample, secondly by proposing perceptual theories about time and motion in individual images, and emphasizing visual language independence and viewer role In the perceptual process, it shows that there is no significant difference between the main criteria for defining narrative, especially the element of “time” in linguis tic narrative and visual narrative. Thus, visual works, by their very nature, represent the category of event narrative time in a different way from linguis tic products.

In Ibn Arabi’s mind, light, as one of the many names of the God, contributes to the manifestation of the objects and creatures in the domain of the various presence statuses of the world through emitting and beaming its radiations into the levels of existence. And, in line with this, every creature experiences a quality of existence according to the principle of the God’s existential manifestation in names and attributes based on its existential rank in the position of a shadow of this light in respect to the owner of the shadow and it can be perceived by means of the illuminated wisdom and gaining knowledge over the forms of the imagination.The final result was that the same way that the human imagination needs interpretation as isthmus between the worlds of soul and body, the disconnected imagination is also in need of interpretation in its isthmus rank between the divine and corporeal worlds as the place wherein the ethereal spirits and the soft bodies of the world of matter gather around; in parallel, the domain of the existence in the rank of absolute imagination and multiplicity of the shadows of the God need interpretation towards the unity of the essence. The knowledge over this method of approach towards the existence can be only acquired through illuminated wisdom that, as believed by Ibn Arabi, its perfect form has been entrusted in His Highness the Great Apostle of Islam (may Allah bestow him and his scared progeny the best of His regards) in His Highness’s rank of Yusuf. The present study’s method in this study is descriptive-analytical. The data collection instrument includes library research.

Iran's pre-Islamic period is epistemologically under the Mazdisnah, in all aspects of its social, political and cultural life. Due to the foundation of Zoroastrian religion, Wise Lord, created the world according to a normative law that dominates everything. Asha is the soul of the truth and is grand narrative environs the Zoroastrian religion and even the prehistoric wisdom and the way of Khosrowan and the righteous of Farah which leads the world to the origin of. On the one hand, creating a work of art, in a comprehensive definition, is perfection oneself and others that is influenced by the concepts that have long been present in collective thought. The same as argument in the art of Iran, according to the ideology of the ancestors which is based on the monotheistic and wise doctrines, following the way of creation the world and the order governing it, is the integral part of the artworks and seen everywhere. Also dynamic and movement are recognized as indicators of Iranian motifs. Equilibrium and similarity have a special place in the structure of Iranian art. This research will explore and interpret the texts, considering the words of ancient prophet as primary source and its available translations use library resources and documentary techniques to examine the relationship of Asha and evolution. Therefore, while analyzing the semantic meaning of the word Asha in Zoroastrian and pre- Zoroastrian texts, the presence of the concepts of art and beauty, evolution, dynamics and movement, order and balance will identify.