مجله کاشان شناسی
سال ششم شماره 2 (پیاپی 11، پاییز و زمستان 1392)

Although Islamic philosophy played a matchless role in the development of the reflective and creative thinking, it has lost its role in the present world. Grandiloquent writing style of philosophers like Mirdamad can be regarded as a cause of such drift, whereas using plain Persian language appeals to the readers and makes it more popular. Among Islamic scholars, “Afzal ad-Din Kāshāni” also known as “Bābā Afzal” intentionally employs the latter style. Using a descriptive-analytic method, the present article attempts to examine how and why he uses such style. The results show that in his writing style, Bābā Afzal took into consideration the time period and common audience perception; furthermore, he put emphasis on mother tongue to articulate philosophy by empathetic language. Integration of these elements produces an eloquent philosophic prose without the common problematic philosophical language of Persian writers.

There are several archeological sites in Kashan that due to the lack of archeological research programs remain unknown or neglected. Feizabad is one of these sites that fortunately had the opportunity to be excavated sometime after discovery. Today this site, located on a flat land at a distance of about 10 Km to the north of the town of Noosh Ābād, is covered by a deep layer of sand. Like most of the archeological sites, the first things come into sight are numerous pieces of ceramics scattered on the earth. More careful scanning reveals the remaining of constructions on some parts. The first season of excavation unearthed an architectural structure which dates back to Ilkhānid period. The architectural data include labyrinthine spaces that are mainly made up of mud-walls and adobe bricks. Considering the absence of anything on the floors as well as the general lack of works inside these spaces, it can be concluded that a deliberate departure happened during the above-mentioned period that made its dwellers to pick up all their tools and appliances. The reason for that intentional departure is not clear yet, however as a theory bitter climatic conditions and environmental changes may be proposed.

Village of Abyāneh is one of the marvelous Iranian historical villages that contains considerable art-works from different historical periods, including a number of engraved doors on some of the historical buildings and houses which beautiful inscriptions are carved over them. Religious buildings of Abyāneh contain five engraved doors, three of which belong to Porzaleh mosque; one dates back to Ilkhanid era, while the other two is a work of Safavid period. One other door made in safavid period is placed in Hosseinieh near the village holy shrine and the last one is a beautiful door from Qājār period at the entrance of Jameh (congregational) mosque made by Safar Ali Bidgoli. There are also about twenty single doors from safavid period standing on Abyāneh houses which are masterpieces of art and architecture. The inscriptions over the doors of houses include monotheistic statements, Persian poems, name of the owner and craftsman, and the date of manufacturing. Persian poems and Arabic phrases are typically composed of worship to God, ask for abundance and blessing, emphasis on monotheism, and seeking help from God. After the names of God, Allah in particular, the name of Ali is mostly seen on the doors that illustrate the cultural and religious impact of safavid period. The inscriptions were incised on the doors inside arabesque shaped frames on the top and a beautiful Shamseh (sun-like) in the middle. Abyāneh’s doors are key elements which represent a great part of cultural, historical and artistic identity of this peerless village.

Iranians and Hebrews met each other for the first time in Chaldea artery by around 700 BC where they together with mutual transactions and interconnections began one of the most prolonged human communities. The Jews gradually scattered throughout Iran especially after Cyrus. Some scholars trace back the residence of the Jews in Kashan to that era. Taking into account the long history of the Jewish people an inseparable part of Kāshān’s history, they believe that a true understanding of it in the sense of culture and sociology can shed some light on the history of the region and the Jews. The present article examines the status of the Jews of Kāshān in Pahlavi period; their political activities, the role of the establishment of the state of Isrāel in the transformations that took place in this period, and their economic situationin the second Pahlavi period. It goes on by introducing the famous figures of the Jews of Kāshān in this period and as a final point, investigates the causes of their population decline which led to the demise of this community in Kāshān. The results show that in Kāshān during Pahlavi period, as before, Muslims generally had not anti-Semitic views, and in return the Jews -in particular their outstanding personages of culture, politics and economy such as Lord David Alliānce, Hakham yedidia shofet, and Dr. Loghman Nehorai- showed conservative and rather peaceful attitude toward them. It is shown as well that of Dr. Sulaymān Berjis was murdered owing to proselytizing Bahāiyat and not because of his judaism.

Sho-oori Kāshi was an 11th-century AH poet. According to biographies his poetry were comprised of six thousand couplets, however the only existing copy of his poetry includes some strophes and quatrains plus two Masnavis (double-rhymed verses) named Moones e Akhyār and Mehr o Vafā. The biographies mention the outset of his work contemporary with Shah Esmāil Safavi (the 2nd, apparently), however, he in his poems eulogizes Shāh Abbās the Great and his vizier Hatam Beik. A review of his survived works and biographical texts indicates that he was mastered in composing qasīdah (odes), ghazal (lyrics), rubaI (quatrains), masnavi (double-rhymed verses) and in particular chronograms. This paper presents a comparative study between Sho-oori Kāshi’s Mehr o Vafā and Nizāmi’s Khosrow o Shirin. It begins with an overview to the imitations of Nizāmi Ganjavi, followed by introducing Sho-oori and his works. Then the style of Nizāmi and his imitators is discussed. The next part focuses on the Masnavi Mehr o Vafā and narrates the summary and setting of the story. The paper ends with a comparison between the two narratives both on the terms of structure and content. In respect of the content, the most important difference between them is the storyline and plot; similar to all the narratives after the 10th century AH and probably under the impact of the school of “Voghoo” (earthliness) in Persian literature, the story of Sho-oori is more earthly and less emotional. Likewise, the main differences of Mehr o Vafā in terms of form and structure include concision, simplicity, and use of colloquial phrases.

Habibollāh Sharif Kāshāni was a renowned jurist, exegesist, poet, and scholar of Kāshān in the recent century who wrote in areas of jurisprudence, exegesis, theology and tradition. He had also several precious works of poetry. In his most well-known poems in the form of Masnavi titled Tashwighāt Alsālekin (encouragement for the wayfarers), Tanbihāt Alārefin (admonishments to the mystics), and Nasihat-Nāmeh (book of advice), he presents the main mystical themes, allegories and motifs that indicates his vast and deep knowledge of the Islamic science, culture and antecedent mystical heritage. Among the former mystics, Mullah Habib was enamored of Mowlānā Jalāl ad-Dīn Muhammad Balkhī, to the extent that in his writings frequently refers to the thoughts and sayings of Mowlānā and borrows motifs from him; for example self-criticism in the mirror of narration, the rebelliousness and bloodiness of love from the outset, inexpressibility of mystical experiences and concepts, spiritual exegesis of “put off thy shoes” in the holy Quran, yearning for a confidant to reveal the spiritual mysteries, Satan in human disguise, mouse and wheat, forty year procrastination, nullification of the causality and relationships, and the elixir of love. The impacts of the instructions of other mystical orders, in particular the Sufism of Khorāsān, such as God’s boundless Mercy, attraction and effort, the sympathy and altruism of the mystic, the dignity of man’s essence, and confliction between the soul and body are also noticeable in his poetry. The present article studies the theosophistic and mystical views of Mullāh Habiballāh Sharif Kāshāni and wishes to introduce him to the scientific and literary society by showing similarities of his thoughts with that of Mowlānā with the emphasis on Masnavi-Manavi, and presenting the most important spiritual motifs of his writings.

The book of Sarf-e Moubad is written in 1340 AH by Sheikh Abdul Ali Moubad Bidgoli. He who for a time was involved in journalism and political movements of the Constitution, due to the fascination with Persian language, culture and literature, in addition to poetry, turned to teaching and research in this area and then wrote books like Nosakh-e-Moubad and Pestay-e- Moubad and also he has involved in monitoring the correction of Shahnameh known as Amir Bahador’s Shahnameh also he has wrote an encyclopedia for this book. One of his writings known as Sarf-e Moubad (Moubad’s conjugation) has been published to teach the Persian and Arabic grammar to beginners. We are perhaps not far from the truth, if we say generally that, after the beginning to write the Persian grammar during last two decades, this book is the first book on comparative grammar between Arabic and Persian language. The present study, while a brief review of the life of the Moubad, investigates some topics such as book value, the motives for writing the book and its title, critique of book's examples, orthographical features of Persian and Arabic text of the manuscript and arrangement of its contents. The most obvious feature of the Moubad's writing style is using a lot of new and invented or say, “Dasatiri” words owing to his absorption in the old Persian language and culture and the influence of the invented book of Dasatir on him.