Artistic Imagery of the Scenes of Paradise in the Bitter of the Word of Imam Ali According to Sayyid Qutb's view (A Case Study of Complete Nahjolbalagheh)

Image as a term does not exist in eloquence science as one of the triple branches of old eloquence (meanings, expression, and creativity). It is rather a new term which was made in light of new eloquence. That does not mean of course that imagery did not exist in old eloquence but in terms of old eloquence imagery tools such as simile, metaphor, metonymy, and allusion were the means for creating images. From new eloquence’s view imagery in addition to imagery tools is applied through available harmony and coherence in words, phrases, music, movements, colors, contrast, dialogue and some methods including questioning, calling, surprise, order, emphasis, etc. Seyed Ghob is one of the contemporary writers who in a book titled “Artistic Imagery in Quran” has studied expressive style of some of Quranic verses according to artistic imagery elements for the first time. Since imagery is one of the fundamental features of Nahjolbalagheh’s sermons, The present article aims to implement one of the new rhetorical ideas in one of the most valuable Islamic texts in the form of a descriptive-analytical method has extracted and analyzed elements of artistic imageries of heaven’s scenes in sermons 7,8,16, and 17 and testaments 1 and 2 of Complete Nahjolbalagheh. It should be added that the base of this study is Complete Nahjolbalagheh’s book which also contains omitted cases of Seyed Razi’s Nahjolbalagheh. Research results indicate that sensory imagination, artistic harmony, dialogue, color, movement, description, and music are among the most frequently used elements in studied scenes.