Corresponding the Pinnacle and Depth of Man in the Quran and Masnavi and its Reflection in Safavid Paintings

Painting is one of the attractive and symbolic arts in Iran and the study of paintings confirms the transfer of significant individual and social concepts of such aforementioned works. Persian poetry and literature are one of the literary artworks that bestows an imperative value in conveying essential human concepts. One of Rumi's main concerns is anthropology and according to him the Quran is considered as the most influential book; the reflection of good and evil is one of such impacts represented in the Quran and on the verses of the Masnavi. This research has been done by "comparative-analytical" method. The research findings indicate that many of the models presented in Masnavi are consistent with Quranic models; the furthermost of these role models are either divine prophets or saints including: divine prophets such as: Adam, Ibrahim, Noah, David, Solomon, Saleh, Younis, Moses, Yusuf, Jesus and Muhammad (PBUH); and divine saints such as: Bayazid Bastami, Mansour Hallaj, Fazil Ayyaz and Shaqiq Balkhi among other figures. In addition; a number of human manifestations in the abyss of the oppressors of history are tyrannical kings and bloodthirsty rulers; including: Cain, Pharaoh, Nimrod, Qarun, Abu Jahl, Abu Lahab, and Hajjaj Yusuf. Rumi has applied such human patterns through symbols and signs and has often made mystical interpretations regarding the figures and events related to their lives; in this regard, his objective was to display what moral virtues or vices each of these patterns partake. In the remaining paintings from the Safavid period, concepts and themes beholding the virtue and significance of human beings can be deliberated upon.

1. Scrutinizing the human face in Masnavi and its comparison with the Holy Quran. 2. Examining the pinnacle and depth of the human face in Safavid paintings.

Research questions:

 1. What is the pinnacle and depth of man from the point of view of Masnavi and Quran? 2. What is the reflection of the human face in Safavid paintings?