نشریه مطالعات هنر اسلامی
پیاپی 37 (بهار 1399)

Myths represent the culture and way of thinking of people in ancient times; Language is a historical narrative from prehistoric times; It is the voice for precious relics that are extracted from the heart of earth or amongst rocks and mountains. Myths represent the continuity of the cultural life of a nation and characterize its history (Amoozgar, 2009: 1). Poets and writers have cultivated the myths and beliefs of their ancestors and their works are interrelated to mythologies. The symbol of Gavaevodata created in Zoroastrian cosmology is the name of the first created cow and is one of the six eternal creations of Ahura Mazda in the material world and the mythical father of all beneficial animals. This cow is slaughtered in the myth of creation and from its body and face, the world is again filled with creatures; this is similar to the character of Siavash, a positive character with a free and gentle spirit that tragically dies oppressed and innocent. From his blood the sacred plant known as the “blood of Siavashan” grows that is associated to birth and nurture. In the vast expanse of Iran, reliefs, stone-carvings and lithographs, along with literature are ancient means to preserve mythology. Accordingly, many prominent embossed reliefs have been applied in the Persepolis; hence in this regard the symbol of the cow is abundantly used in the prominent motifs of Persepolis and is interpreted in many connotations. The hidden meanings deep in the layers of embossed patterns and its adaptation to similar cases in literature can generate a more precise representation of the mythical and cultural beliefs of Iran.

Research aims:

1- To explore the myth of the Gavaevodata and its relation to the story of Siavash in the Shāhnāmeh. 2- To compare the mythical symbols of the embossed reliefs of Persepolis and Ferdowsi's Shāhnāmeh.

Research questions:

1- What purpose did the myth of the Gavaevodata create in the role of Siavash in Ferdowsi's Shāhnāmeh and the embossed motifs of Persepolis? 2- What concepts does the Gavaevodata create in the form of Siavash's character in order to inspire the audience?

Human habitation has always had a special place and importance in providing comfort, tranquility and satisfaction. Hence, "shelter" in human thought has a long history of group and social life. Today, some believe that in modern times, architecture pays more attention to the visual eye and less attention to other sensory perceptions and the human body. This research tries to formulate a logical process of identifying and prioritizing the experimental elements of multisensory in promoting housing satisfaction. This research work is based on mixed research method (quantitative and qualitative), with logical reasoning. In the qualitative section, the method of phenomenological observation and interview has been used to identify the factors affecting desirability. In a quantitative method, a questionnaire was used to collect data from the statistical community (residents of residential complexes in Zanjan). Findings show that the connection between conceptual awareness, multisensory perception, this identity with the nature and desirability of habitation is significant. Also, the sensory components in the surveyed houses affect its environmental quality as well as the desirability of the space and the satisfaction of the residents.

Research objectives:

 1. Investigating and recognizing the desirability of housing and the concept of satisfaction with it, with the approach of phenomenological philosophy. 2. Develop and present a conceptual model of residential utility. 

Research questions:

 1. Is there a significant relationship between sensory components and quality criteria of a residential complex? 2. Does the house only meet the basic human need or is it a concept beyond that?

Most theorists of architecture believe that culture is one of the factors influencing home design. The spatial configuration of a house in an area can support or disrupt the culture of the inhabitants. Hence, the shape of the house in indigenous architecture is an expression of understanding the content of human life. The necessity of this research is explained based on the dimensions of family and social life. The houses of the Zandieh and Qajar dynasties of Shiraz, which are mostly located in the Sang-e Siah neighborhood, form the statistical population of this research which is of a diverse kind. The aim of this study is to read the spatial organization of the native houses of the old texture of Shiraz accomplished by Space Syntax and the graphical analytical analysis (SPSS) software. Based on the logical arguments gained from the little information obtained from the graphs output of the Ucl Depth Map software, the strengths and weaknesses of the native houses were examined. By analyzing the attained information, a suitable model was extracted in terms of socio-cultural concepts involving the ancient elements. According to the results of the research, by combining the model obtained from this research with modern residential replicas, an innovative prototype can be presented for the imminent houses of the historical cities of Iran.

Research objectives: 

1. Investigating the organization of the native houses of the old texture of Shiraz city 2. Explaining a suitable model for contemporary housing based on the ancient analysis of the models of Zandieh and Qajar period houses in Shiraz.

Research question: 

1. How has culture (residential and social) affected the formation of the Space Organization of Shiraz Houses (Zandieh and Qajar)? 2. What is the role of architects and planners in the present age in perpetuating the socio-cultural values of indigenous environments? To what extent are design software involved in this area?

If the word “contemplation” was studied in its full sense, that is, thoughtfulness with fear and trepidation, no notion such as nothingness and non-existence would have trembled the human soul. It is less a cultural and epistemological system that, in the foundation of its semantic structure, does not seek an answer to the question of nothingness. In the religion of Daoism, nothingness has become a fundamental concept. Daoism sees contemplation in the realm of nothingness as a way to understand existence. Daoist thinkers are constantly attempting to comprehend life and existence in relation to emptiness and non-existence; In fact, in this religion, non-existence is a prerequisite for those who are delayed in the concept of existence. The ideas of dualism and the concept of nothingness have been able to permeate various cultural forms throughout Chinese history. Clearly, traces of this notion is perceived in the schools of Chinese painting, and one can find a reflection of Daoist thoughts in their artworks. Our aim in this study is to follow the signs of the nothingness theory in the works of one of the greatest painters of the era of the rule of the South Song dynasty (1279-1127 AD) by the name of Mayoan (1225-1160 AD). In this study, ten artworks of Mayoan are selected and examined using a descriptive-analytical method. The results of the research indicate that the theory of nothingness has penetrated deeply into South Song's periodic painting and have been transferred to later periods in the form of a significant artistic tradition.

Research aims:

1. Examining the concept of nothingness and emptiness in Daoism and its effect on Chinese painting. 2. Examining the concept of nothingness and emptiness during Mayoan's work.

Research questions:

1. What effect has the concept of Daoist nothingness had on the art of Chinese painting? 2. How is the concept of nothingness manifested in Mayoan works?

No poet like Hafez has penetrated into the depths and angles of the mind and hearts of Iranians. He is the poet of all ages, and many strata, from mystics and writers to ordinary people, have each found their desired meanings in Hafez's words. Also, Hafez's worldview and humanistic themes in Persian literature have provided a great capacity for the globalization of his character; hence, Hafez's influence and poetry can be seen in many Eastern and Western countries. To this end, in order to better understand the cultural comprehensiveness of Hafez in diverse countries, this study attempts to study the influence and impact of Hafez's words in the literature and culture of Western and Eastern countries by adopting a library method and a comparative study. In fact, the aim of this study is to show the influence of Hafez's words with human themes on poets and writers of various countries including Germany and Czech-Slovakia, Indian subcontinent including Bengal and Pakistan, China, Ottoman Empire and Arab scholars. It is also intended to examine the reflection of Hafez's cultural comprehensiveness in these countries by studying and examining images of Hafez's illustrated manuscript (available at the New Delhi Museum). The results of this study show that Hafez's cultural comprehensiveness has crossed the border from Iran and reached the depths of Western and Eastern countries. In which that in addition to the cultural influence of Hafez's poems on a number of Western and Eastern countries, Iranian and Islamic culture has also penetrated and expanded and the theme of Iranian poetry and culture has been recognized as a symbol of peace and comfort.

Research objectives:

1. To study how the principals and ideas of Hafez has penetrated into the countries worldwide. 2. To examine the reflection of the cultural comprehensiveness of Hafez's work in the images of its illustrated version.

Research questions:

1. How did Hafez's intellectual and cultural influence originate in different countries? 2. How have Hafez's ideas influenced the intellectual and cultural life of other countries?

The Islamic architecture of Iran is the result of a natural continuity of architecture in diverse historical epochs. Therefore, perceiving and studying the history of architecture can aid understanding the architecture of the Islamic period and its various aspects. In the late eighth century AH, the political turmoil in Iran paved the way for Timur Gurkhani to invade the country. The Timurids ruled Iran for more than a century, until the rise of the Safavids. Timur, after destroying the building and massacring the people of the cities, showed interest in building magnificent structures. His successors followed suit. As a result of these works, various arts flourished, especially the art of architecture. His successors followed the same suit. As a result of these works, various arts flourished, particularly the art of architecture. This research is accomplished via a historical-descriptive method followed by library study. The research findings also show that during the Timurid period, magnificent buildings were built mainly in present-day Khorasan, which are among the architectural masterpieces of Iran. Although the method of architecture in the Timurid period is influenced by the architecture of earlier periods such as the Al-Muzaffar era, however, the architecture of the Timurids, in terms of grandeur and richness, has achieved an unprecedented flourishing visible in various structures such as the Ghiasieh School of Khordgerd, Dodar School, Goharshad Mosque and Bibi Khanoom.

Research objectives:

1. To study the style of architectural art and its prosperity in the Timurid period. 2. To scrutinize Iranian decorative elements and its richness in the architectural art of the Timurid period.

Research questions:

پ1. What is the main feature of Timurid architecture that distinguishes the works of this period from other buildings? 2. In what structures can the style and features of Timurid architecture be perceived?

Colors have a distinctive visual, semantic and psychological assets that has made them the most imperative tool for creating works of art. Color in literature is considered as one of the seven arts. Dominant speakers and lecturers have used color as an effective tool in illustrating, imagining, and conveying concepts. Therefore, by examining and analyzing the method and extent of applying the element of color in the works of poets and writers, it is possible to comprehend the implied approaches and the general structure of such works. Based on this feature, in the following article, the perspective of Nezami and his outlook towards the category of color and the extent of his use of this element and the comparison and analysis of the colors: black (component of sadness), white (component of hope), red (component of emotion), yellow (component of happiness), green (component of spirituality) and blue (component of tranquility) have been studied in his two famous poems "Khosrow and Shirin" and "Leily and Majnoon". The method of this research is based on content analysis and the sample size includes all the applied color-words in the two literary artworks of Nizami Ganjavi; furthermore, the statistical community consists of all poems that contain color-words. In data analysis, descriptive statistical methods such as distribution and frequency percentage of components, tables, bar graphs and circles have been used. Comparison of colors as noteworthy components in these works shows that there is a significant relationship between the use of colors and the content of the two literary collections; the elements of hope, happiness and peace in "Khosrow and Shirin" are more visible than "Leily and Majnoon" and the elements of excitement, spirituality and sorrow in "Leily and Majnoon" are more observed compared to "Khosrow and Shirin". Based on the results, the researchers of the present study consider that Nezami, while having an overview of the theme of his stories, has also been extremely careful in using details and has applied all specifics in the context of a general structure.

Research objectives:

1. Investigating the quantity of colors used in the two poems "Khosrow and Shirin" and "Leily and Majnoon". 2. Comparing the frequency of color-words as components of hope, sadness, happiness, excitement and spirituality in the two poems "Khosrow and Shirin" and "Leily and Majnoon".

Research questions:

1. What is the psychological and semantic burden of different colors from Nezami’s point of view? 2. What is the frequency of different colors in the two collections "Lily and Majnoon" and "Khosrow and Shirin" and what is the relationship between the amount of colors and the content of the mentioned works?

No civilization is created in a void. Every civilization has its own heritage and has a substantial relationship with it. In essence, what is left from a past plays a decisive role in shaping the future. The golden age of Islamic civilization must also be understood in terms of this principle and in the field of its prior culture and civilization. The golden civilization of Islam, which emerged during the Abbasid caliphate, was clearly associated with its neighboring societies. Meanwhile, the Iranian civilization of the Sassanid era plays a central role in the formation of Islamic civilization. Zoroastrian aristocracy has always been the cultural elite of the flag bearers of science and knowledge in the history of Iranian civilization. In the Sassanid era, the power of this elite force reaches its peak.
Due to global events such as the closure of scientific schools in the Eastern Roman Empire, the Iranian world in the Sassanid era led by Zoroastrian elites increasingly became the center of scientific discussions of the civilized world. In this study, via a library research, it is sought to express how Zoroastrians were able to survive after Islam, as a cultural force, and become a source of many services to the Islamic world by transferring the tradition of knowledge in the Sassanid era. The results of the research show that the dissolution of the Sassanid system took the cultural achievements of the Zoroastrians out of the hands of the priests and hence the scientific achievements of the past became a basis for new developments. In the meantime, more than any other field of knowledge, they were able to benefit from Zoroastrian heritage: firstly, in the field of medical knowledge, which is linked to the rich tradition of Jundishapur, and secondly philosophy and wisdom, a clear example of which can be seen in Sohrevardi’s works.

Research objectives:

1. A study of the fields of knowledge in pre-Islamic Zoroastrian Iran. 2. A study of the cultural services of Zoroastrian thought in Iran in the Islamic period.

Research questions:

1. What fields of knowledge were transferred from pre-Islamic Iran to post-Islamic Iran? 2. What are the cultural influences of the Zoroastrian principals in the Islamic period?

Today, the appropriateness and beauty of the urban environment on the one hand, and the turmoil on its walls on the other have led to the necessity for urban environment organization. Therefore, attention to the aesthetic factor in urban architecture is consequently vital. Literature, in the interim, can also aid in sections. Contemporary Egyptian satirist Ahmad Shafiq Behjat, with his specific clarity and awareness, sharpened his criticism of society and expressed the chaotic, disordered and hectic urban environment of today's Egypt along with its shortcomings. By applying a humorous dialectal, he objectified his critical thinking of urban manifestations and suggested corrective measures. This study follows a descriptive-analytical methodology and the findings of this study demonstrate that humorous techniques can exquisitely express the visual elements hidden within the facades and walls of the urban environment. Henceforth, it can inform human beings of their faults and perversions. With the benefit of such techniques, ugliness and vices are humiliated and virtues are magnified, and by this means, the audience can be thoughtfully encouraged to correct unconventional behaviors.

Research objectives:

1. Re-reading the visual elements in the urban views of Egypt, to express the humorous techniques of Ahmad Shafiq Behjat. 2. Expression of Behjat's cultural and social goals to promote the Islamic society of Egypt.

Research questions:

1. What are the satirical techniques used in the works of Ahmad Shafiq Behjat by analyzing the walls of the urban environment? 2. What does Ahmad Shafiq Behjat seek in the humorous expression of urban manifestations?

Science and technology parks have been created for the technological purposes of sustainable development. Art can also be a tool for achieving sustainable development goals. In order for children to participate in science and technology parks and invest in their creativity, it is conceivable to create a stimulating environment for education, entrepreneurship and the use of the child's talent in the future. What is important in children's and adolescents' science and technology parks is learning the skills needed to be creative and imaginative. Creativity can be considered a mental phenomenon that results from the use of common cognitive processes. The physical environment plays a prominent role in the flourishing of such a trait. The connection between the space created in science, technology and art parks plays an imperative role in nurturing children's creativity. In the present study, an analytical-qualitative method based on theoretical foundations, documentary and library studies have been used along with semi-structured interviews. The effective components in promoting children's creativity are examined in two categories of environmental and individual factors; hence, grounded on the research findings, the impact of environmental factors and its use as the most important factor in child rearing is highlighted. The spaces created not only with the physical aspects of their psychological organization, but also through the connection of this body with art, affect the flourishing and nurturing of children's creativity.

Research objectives:

1. Explaining the pattern of design based on diversity in children's educational spaces. 2. Achieving the scientific components of promoting children's creativity in urban spaces.

Research questions:

1. What effect does the creation of children's technology parks have on the type and quality of their creativity? 2. What effect does the use of environmental components in the design of science and technology parks have on children's creativity?

Postmodern architecture knows no clear boundaries between art and sociology. According to the idea of ​​"global culture", which is associated with the increasing production of knowledge and technology, the gap between modernity and tradition in the discourses of artistic creation is no longer a challenge to creativity and the use of the paradigm of pluralism and uncertainty makes possible the assemblage of heterogeneous words in an assembled culture. This study tries to understand the pattern of artistic montages and its undeniable relationship with identity and tradition in Iranian society. Despite their innovative ideas, these patterns are also dependent on long-standing national and religious discourses and have raised the issue of the place of postmodern artistic creativity while preserving Western approaches and national identity in contemporary Iranian art. The present study is an analytical-descriptive study in which data is collected by document analysis and the findings are analyzed by content analysis between the relationships of the main, dependent and intermediate assumptions. The findings of the study indicate that the rapid change of new facilities reduces the opportunity for their audiences to accept opinions that contradict their national identity. Since one of the global symbols of postmodern society is the disordered production and consumption of cultural signs; symbols that give rise to multifaceted narratives. As a result, according to the moral responsibility of postmodern art, by preserving the common local discourses, contemporary art concepts can be expressed in a creative way with a montage pattern in order to spread world culture alike postmodern commodity.

Research objectives:

1. To study of the position of postmodernist creativity in contemporary Iranian art. 2. To understand and interpret the patterns of integration and assembly in artistic images and its undeniable relationship with identity and tradition in Iranian society.

Research questions:

1. Can divergent assembly patterns able to provide a solution to enter the creative context of postmodern aesthetics in contemporary Iranian art? 2. What are the key themes common between the main concepts (postmodern sociology), dependent (artistic creativity) and intermediary (assembly model in contemporary Iranian art)?

Religion had its peaks and valleys during the Sassanid period from its foundation to extinction; which lasted more than four centuries. The role of Ardeshir Babakan, the founder of the Sassanid dynasty is prominent. Through interaction with Zoroastrian clerics, Babakan used their fire temples and agents as a political tool and a key factor in consolidating the foundations of his government. After Ardeshir's death, his successors continued this method. During the reign of Bahram, I (271 AD), Carter, an influential Zoroastrian cleric, was able to make Zoroastrianism the official religion of the country. Also, the cultural view of the kings, according to which the legitimacy of the monarchy was justified, was of great importance as a strong religious concept for the Sassanid kings and Ardeshir himself. Meanwhile, Tensor's letter and Cartier's works played the most important role in the formalization of Zoroastrianism during the Sassanid period. Persepolis was also considered as a ritual center and as a symbol of the glory of the Achaemenid Empire, where the uprising of Iranian families, particularly the Sassanids, took place. The reflection of the religious policies of the Sassanid period in parts of Persepolis such as Tachara Palace, Naghsh-e Rostam, Naghsh-e Rajab and the Kaaba of Zoroaster in the form of embossed stone and inscription is clearly visible. The method used in this research is descriptive-analytical and the researcher has used library method to study the religious policies of the Sassanid period and its reflection in the Persepolis complex.

Research objectives:

1. To study the process of formalization of Zoroastrian religion in the Sassanid period. 2. To study the reflection of the connection between political and religious factors in the Sassanid period in the relief stones of Persepolis.

Research questions:

1. What are the contexts and grounds for the formalization of religion in the Sassanid period and the factors affecting it? 2 How are the religious policies of the Sassanid period reflected in the reliefs of Persepolis?

Throughout history, aesthetics has been considered as an ancient attraction and has been discussed in various fields. Beauty is not just a matter of the mind, it must be understood as an objective truth. The strcutures of the Islamic era, as important urban phenomena, are of special importance in terms of aesthetic features. Thus, in recent decades, foreign and domestic researchers have examined various aspects of such a perspective. Thus this research, exclusively, emphasizes the aesthetic dimension of the environment and the form of architecture. This research study is carried out via an analytical-applied means with a "survey method" in field studies; moreover, data is collected by objective observation of Islamic buildings and a subjective "questionnaire”. The prioritization of objective and subjective aesthetic data of the body and place of architecture, particularly contemporary Islamic architecture is the focus of this research. The research findings show that the objective and mental criteria of people and architects are slightly different, but the objective perception of beauty of the environment and the body of architecture in both groups is significant. Likewise, the study of data displays that the beauty of the structure, body and architectural space has an imperative effect on the objective and mental understanding of the aesthetics of architecture.

Research objectives:

1. Examining the objective and subjective dimensions of the aesthetics of Islamic architecture 2. Research and prioritization of aesthetic indicators in objective and subjective dimensions in contemporary Islamic architecture

Research questions:

1. How have the objective and subjective dimensions of aesthetics been reflected in the works of contemporary Islamic architecture? 2. What effect does the beauty of the structure and space of architecture have on the objective and subjective understanding of the aesthetics of architecture?

The element that creates a dissimilar spirit of a nation or folk is their common history and memories in a common territory. Thus, the folklore or popular culture of that people, not only the usual and simple rituals and literature, but also expresses the most fundamental principles of insight, way of thinking and how they understand the universe. In fact, folklore describes the social life of that nation. In the territory of Iran, there is a rich heritage of folklore and popular culture that have accumulated and evolved as sedimentary rocks since ancient times. It is imperative for us to identify the roots of popular cultures and the connecting elements of folklore in every corner of this vast land with the fundamental elements of Iranian civilization. The most important document of the ancient Iranian civilization is Ferdowsi's Shāhnāmeh. Ferdowsi's Shāhnāmeh provides us with the best cognitive and comparative tools. Our aim in this study is to observe the dimensions of social and cultural effects of "Mehregan" and "Sedeh" celebrations in Ferdowsi Shāhnāmeh, as a report of the ancient civilization of Iran, and the effect of these dimensions on the popular culture of the people of the province of Kerman. The method used in this research is comparative accomplished via library studies. The results of this study, considering the common manifestations of Shāhnāmeh and folklore of the people of Kerman while studying the celebrations of "Mehregan" and "Sedeh" and the customs of the people of Kerman, indicate that Ferdowsi's Shāhnāmeh, over time, has introduced valuable cultures and rituals of their ancestors and has also provided a common language and understanding between them and other compatriots and even neighboring nations by influencing popular culture.

Research objectives:

1. To study the effects of Ferdowsi's Shāhnāmeh on the culture and popular literature of the people of Kerman province. 2. To recognize the similarities between the cultural and social elements of Shāhnāmeh and the popular culture and customs of the people of Kerman province.

Research questions:

1. Have the different manifestations of Shāhnāmeh been reflected in the popular culture and literature of the people of Kerman province? 2. Is there a similarity between the popular culture and customs of the people of Kerman and the culture and customs in the Shāhnāmeh?

Architecture, as a form of civilization, has always represented the deepest spiritual tendencies of a nation; such a notion is constantly deliberated upon when studying Islamic architecture. Traditional Islamic architecture is deeply intertwined with the epistemology and historical ontology of Muslims. The Safavid period is considered a unique period from a philosophical perspective; during this period, the dual tendencies of Islamic philosophy, that is, the peripatetic and Enlightenment tendencies, came together and appeared in Sadra's new philosophy. The formation of a new philosophical attitude and the transformation of the new Islamic worldview, in turn, had many effects on the integrity of civilization. Safavid architecture was also influenced by such inspirations and the reflection of the mentioned philosophical attitudes was apparent.  In Descartes' philosophy, minor significance to space has led to the phenomenon that triggered the overlook of qualitative memories and ultimately reduces the foundation of a spiritual outlook in Western societies. In the residential architecture of the Safavid era, contrary to this view, we see the quality of space. A quality that unites all the elements of architecture in a single principle, that is, the display of human status in the spiritual world. It is this fundamental principle that places the Safavid house as a continuation of the mosque and a place for the emergence of meaning. In this study, we have endeavored to use the Safavid house as a critical tool to improve the condition of today's houses. In order to achieve this goal, a descriptive-analytical method has been used with the aid of a questionnaire in order to evaluate the attitude of the people of Isfahan towards Safavid and modern houses. The results of the present study indicates that the general attitude towards traditional Safavid houses is more positive and people prefer such houses to modern structures. The motive for such preference is the existence of the same spiritual elements that exists in Safavid residential houses.

Research objectives:

1. Identifying the effects of Islamic philosophy on Safavid residential architecture. 2. Improving modern residential structures with an outlook towards Safavid architecture.

Research questions:

1. What effects has Islamic philosophy had on Safavid residential architecture? 2. By assessing the target community, what are the differences between modern and Safavid residential architecture?

The current century has witnessed the expansion of urbanization in developing countries, including Iran. On the one hand, one of the consequences of this phenomenon is the increase in demand for goods and services in cities, and on the other hand, urban development requires financing of municipalities and government organizations. Nevertheless, due to the diverse situations of developing countries and the financial crises of these countries, as well as the low credit and revenues of municipalities from local taxes, it is not possible to finance the necessary urban projects through the government sponsorship. As a result, for the progression of infrastructure, the presence of private sector investment and the use of facilities of private banks and institutions appears compulsory. The metropolis of Tabriz is a clear example of urban development using the capacities of the private sector. The present applied research applies a descriptive-survey method with the use of questionnaire tools and a sample size of 384 people to assess the role of private sector investment in the economic and artistic development of Tabriz. In the research process, Delphi technique was used to analyze the data and SWOT model was used to analyze the factors affecting private sector investment, quantitative strategic planning matrix technique. The results of the evaluation matrix of internal and external factors of Tabriz based on the QSPM model indicate that the weight of the city's strengths weighs on its weaknesses. Therefore, considering the strengths and weaknesses of the study area and the opportunities and threats that exist outside the region, as well as taking into account their total points, it can be concluded that by emphasizing on increasing private sector investment, economic-artistic development of Tabriz is followed.

Research purposes:

1. Assessing the role of private sector investment in the economic-artistic development of Tabriz. 2. Investigating the strengths and weaknesses / opportunities and threats of private sector investment on the development and progress of Tabriz.

Research questions:

1. Can supporting private investment play an effective role in the field of economic-artistic prosperity and growth and development of the city of Tabriz? 2. What are the strengths and weaknesses of private sector investment in the development of Tabriz and its opportunities and threats?

Monasteries or “Khaneghah”, as the center of Iranian- Islamic mysticism and Sufism and a sacred building, with various social, cultural, artistic, economic and political functions, is a representation of Iranian culture and civilization. The Ilkhanid era is known as the period of the expansion of Sufism and the construction of monasteries. At this time, monasteries were considered a social, cultural, and sacred sanctuary that replaced schools, and in addition to asceticism and worship; other activities took place. In this article, it is attempted to study the various influential factors in the emergence and growth of Sufism and monasteries during the Ilkhanid period. Indeed, the study examines the impact of key factors in the process of expansion and growth of Sufis in the Ilkhanid period. Since the role of Sufism and its influence on the buildings of the monasteries of this period cannot be ignored; the study of the architecture of the monasteries is significant in order to study the factors that led to the spread of Sufism during this stage in history. The research method of this article is descriptive-analytical and the method of collecting information is accomplished by studying library resources and also by observing and analyzing the role of monastic buildings in the spread of Sufism in the Ilkhanid period; furthermore, the cultural and artistic factors of monastic buildings have been studied. The results show that the architecture of monasteries and their artistic structure are closely related to mystical and Sufi ideas and the study of the artistic structure and symbolic elements of the monastery shows its direct relationship with the spread of mysticism and Sufism in the Ilkhanid period. In the art of Islamic architecture, many symbolisms have been the source of mysticism and Sufism. The cultural and artistic events of the monasteries were influential in the growth of Sufi followers during the Ilkhanid period, and the spread of Sufism in this period established a link between mysticism and Sufism and the art of the Ilkhanid period.

Research objectives:

1. To investigate of the influence of the most important factors in the emergence and growth of Sufism and monasteries in the Ilkhanid period. 2. To analyze the architecture of monasteries and examining its impact on the spread of Sufism during the Ilkhanid period.

Research questions:

1. How is the architecture of the monasteries and their artistic structure related to mystical and Sufi ideas? 2. What effect did monastic buildings have on the spread of Sufism during the Ilkhanid period?

The depiction of the image of the Prophet and the Imams (pbuh) and their excellence in iconography is one of the themes of the pictorial decoration of religious narratives that has always been of interest to artists. The manuscript of Habib al-Siar, a historical book written by a Shiite historian, contains images of historical events of the Shiite legitimacy. These paintings contain Shiite themes, maps and symbols, as well as iconography of the Holy Prophet (PBUH) and the Imams of the Infallibles (AS), and depict Shiite historical events based on Shiite narrations. Among these, the religious and Islamic book of Bahar-al-Anvar is one of the most important comprehensive books of Shiite hadith and events that includes a collection of Shiite instructions and teachings; Therefore, this study attempts to depict the clear aspects of their inner appearance by examining the image of the Prophet and the Imams in the manuscript of Habib al-Sir in connection with the narrations mentioned in Bahar-al-Anvar; moreover, the images are analyzed and scrutinized by the use of Shiite concepts and symbol. The research method carried out in this research is descriptive-analytical and the method of data collection is accomplished via library resources. Research shows that until the Safavid period, religious figures depicted the faces of prophets and saints due to a lack of opposition, but later, due to the disagreement from religious scholars, faces were covered and artists tried to show an extraordinary appearance by using religious symbols. Also, by applying the narrations of the Shiite events of Bahar-al-Anvar in the illustrations and iconography of Habib al-Siar’s paintings, it is possible to obtain a visual and symbolic image of the artist from the Shiite events.

Research objectives:

1. To study the image and iconography of the Prophet and the Shiite Imams in the manuscript of Habib-al-Siar 2. To analyze the application of Shiite concepts and symbols related to the themes of Bahar-al-Anvar in the drawings.

Research questions:

1. What are the general themes of Habib al-Siar's paintings? 2. How can the principles governing the visual narration of the Prophet and the Shiite Imams (pbuh) in the painting of Habib al-Siar be scrutinized by examining the the Bahar-al-Anvar?