نشریه مطالعات فرهنگ و هنر آسیا
پیاپی 1 (بهار و تابستان 1398)

Jam-e Jahannama [the Cups] of Jamshid and Keyxosro are of the most famous Cups in Iranian literary texts and narrations. Besides the description and explanation of literary, historical and fictional resources and ancient cultures, contemporary researchers from about a hundred and fifty years ago, have investigated these two famous Cups and many points in this regard have been propounded, but with more searches in different sources, there are still new documents and evidences. In this article, after a brief review of the most important theories and researches related to the Cups of Jamshid and Keyxosro, some recent or less noticeable points or evidences from numerous literary, historical and fictional references have been examined in seven sections/topics about these two Cups: 1. The origin and pattern of the Jam-e Jahannama; 2. The Ancientness, originality and independence of both Cups of Jamshid and Keyxosro; 3. How to make the Jām-e Jam; 4. Gender of the Jam-e-Jahanbin; 5. The relationship between the Jam-e Gitinama and water; 6. The end of the Cup; and 7. Commentaries on the Cup.

For a long time, kinds of showmanship have been held for entertainment in Iran each of which has its own procedure. In this article, while referring to the dramatic showmanship, their kinds and styles will be addressed from the perspective of orientalists and travel writers. The benefit of this study is to clarify the dimensions of the showmanship widely spread in parts of Iran. Sometimes travel writers have referred to some details in the performances which are very enlightening, details less indicated in Iranian sources and texts since Iranian writers have been familiar with the phenomenon, they have kept themselves from mentioning the details. In this article, with regard to the works of 25 Orientalists and travel writers, and also based on Persian works and texts, the dimensions of Iranian showmanship have been clarified. In this study, it turns out that some of the dramatic rituals in Iran have a long history, and others have been completely forgotten or altered. From these rituals there are terms and words have been remained in the language of the people, which are not clear for us due to the disappearance of their ritual. Not only such studies introduce us to popular culture and past life, they are some grounds for the study of dramatic literature.

Samurai genre, as one of most important parts of Japanese cinema history, had a significant role, in its seven decades of life, in emerging artistic threads in Japanese cinema, binging about a relative economical constancy for this cinema, and attracting attentions around the world to this cinema. Since genre studies in cinema mostly have been concentrated on Hollywood, especially on its studio system period, other cinemas, including valuable genres like Samurai genre in Japan on which great filmmakers from Mizoguchi and Kurosawa to Kobayashi and Oshima made films usually were neglected. This article applies Semantic/Syntactic approach of Rick Altman in genre theory, which regarded by genre theory experts most authentic theory for explaining cinema genres, into Samurai genre. So we will analyze this genre through the approach in two semantic and the syntactic sections by a descriptive/analytic method, and finally will provide a general vision of the class of this genre.

The era of Akbar shah (Akbar the great), the third Indian ruler of Timurid, is known as one of the most important and prominent governments in Indian history, due to Akbar’s particular political and religious views. Universal peace and reconciliation, religious tolerance, mystical beliefs, astrolatry, loving Iran and Persian language, holding ancient Iranian celebrations, Hezareh-telling, and reincarnation are the most important beliefs, desires, and virtues of Akbar-Shah.  In this paper, after a brief overview of Akbar-Shah's ideas that illustrates his efforts to put the views and beliefs of various religions and religions together, we attempt to scrutinize the relation between Akabar’s universal peace and the idea of the unity of the Azarkayvan religions

In this study, we intend to make a comparative study of women's clothing in the reign of Safavid in Iran and the Ottoman Empire. Because of the long period of this government and to have a closer look at this issue, we limit ourselves to the reign of Shah Isma'il I to Shah Abbas II, which is coincided with the reign of Bayazid II to Sultan Muhammad IV in the Ottoman Empire. In some photos and paintings from the Safavid era and the era of Ottoman Empire some similarities were observed in the patterns and components of women's clothing, so this question raised that from which land these similarities land have been originated? In this research, through a descriptive-comparative method and based on library sources the similarities and differences of women’s clothing of Safavids and Ottomans are studied. The results show that the most of Ottoman women's clothing components are very similar to Iranian women's clothing in the Safavid era.

Although the history of writing and the application of writing in the present geographic boundaries of Iran comes back to almost five thousand years ago, our culture has more oral aspects and is relied on the customs of variety of live  rituals, and transfers unwritten ancient heritage. The fact is that ancient Persian inscriptions date back almost to two thousand and five hundred years ago, and the writings of Elamite are several millennia older than that. Despite such ancientness in our writing tradition, we have to appeal to Sumerian and Akkadian writings in western Iran, in order to understand the ritual tradition, such as Nowruz