فصلنامه مطالعات تاریخ فرهنگی
پیاپی 41 (پاییز 1398)

The present article is a completely field and original research and has a slight theoretical aspect. The author has tried to identify and introduce the Aṭlasī designs and patterns as the most prominent and common designs in the village of Jiria. Thus, the present study is the first research in this field. Jiria village, with its ancient history and culture, is one of the active villages in Markazi province and Arak city in carpet production. The history of carpet weaving in Jiria is in line with this art in Sarough, another village in Markazi province, which is famous for producing exquisite carpets and is relatively close to Jiria. The fame of Jiria carpets in Arak, Markazi province and Iran is due to the quality and subtlety of this art in its design, design and texture. The question of the present study is what is the most common and diverse design and pattern in Jiria carpet and what features does it include? Identifying, reviewing, classifying and introducing different types of Jiria carpet designs and patterns based on Aṭlasī pattern is one of the objectives of this article. This research is of basic type, and the research method is descriptive-analytical, and the data collecting method is field. The research findings indicate that the Aṭlasī pattern is one of the common and famous designs in carpet weaving in this village. Aṭlasī pattern in Jiria carpet is woven and offered in various designs, colors and dimensions. According to the findings of this study, the Aṭlasī pattern is the most varied ones in Jiria carpet. Also, 17 Aṭlasī patterns in this village were identified, reviewed, analyzed and introduced.

The political and ideological conflicts of the Fatimids (577-567 AH) with the Abbasid caliphs and their allies, as well as the inability and political-military weakness of the Abbasids in preventing the spread of rival power, led the Fatimid opponents to use the tools of Ismaili-phobia to isolate and ultimately destroy them. The knowledge of the Fatimid Caliphs about the negative effects of this tool in advancing their goals, prompted them. In this research, using the descriptive-analytical approach, we have tried to deal with the issue of how the Fatimids acts confronting the Ismaili-phobia. The findings of this study indicate that through the writing of various books and treatises and responding to all the accusations and attacks of the opposition and enlightenment about the Ismaili thought and religion in these works; absolving oneself of the deviant acts and practices of onechr('39')s colleagues; inner cleansing of the Ismaili community; maintaining appearance in their interactions and propagandas; trying to hold Islamic rituals; and using the minbars of Hejaz land; the Fatimids tried to present a favorable image of themselves to the Islamic society, contrary to the negative image created by the opposition.

The acquaintance of Iranian thinkers of the constitutional era with the manifestations of modern Western civilization, which took place in parallel with the acceptance of Western ideas by the elites of this historical period, laid the groundwork for the challenge between tradition and modernity. Traditionalist, modernist, and reformist religious discourses centered on responding to this challenge. Considering the reproduction of this challenge in the discourse of contemporary Iranian society and the live presence that these discourses have in the minds of Iranian elites, in this article we have sought to recognize the characteristics of the discourse of religious knowledge reform in the Rūh A-Qodus newspaper. Accordingly, the answer given by the discourse of reforming religious knowledge to the challenge between tradition and modernity - in the context of tyranny and colonialism rule in Iran - is a central question that we seek to answer in this article. Analyzing the discourse and establishing a connection between the discourse features of the Rūh al-Qodus newspaper and the historical context of the constitutional era is the method used to answer this question. The use of this method led us to the conclusion that the need to return to the original Islam, redefining the role of the clergy and its relationship with the institution of politics, the need to recognize tyranny and its types, and the need to fight colonialism, were important strategies that the Rūh al-Qodus newspaper chose as the discourse of reforming religious knowledge in order to overcome the critical situation of the constitutional era. This strategy was achieved based on inter-discourse action and absorbing the desirable elements of traditionalist and modernist discourses.

The dialectic between the position of the field of power and its impact on the Iranian theater field in the period 1332-1332 ASH., by creating changes and diversity in the talents of the actors, and the application of this talent in the production and consumption of various fields of theater, caused fundamental changes in the production and consumption of Iranian theater; which affected production groups, hall owners and viewers. Therefore, in this research, we intend to use Bourdieuchr('39')s formative structuralism and based on theories of differentiation, character, capital and field, and study the position and interaction of actors based on the social origin of each in relation to the theater field; distinguish and stance of actors against the corresponding positions; combine their cultural, economic and symbolic capitals in a descriptive-analytical manner. In the end, we find that the character and method of mastering the actors on the habits and capital of the field, has played a key role in the formation of theatrical fields of this period and has imposed its system of ideas on the theater field and has led to differentiation in the identity of theatrical fields.

After the Mongol invasion of Iran, new elements of the culture of the invading tribes entered the Iranian culture. The Uyghur script, which was written in the Mongolian language and then in Eastern Turkish, was included in the Persian layout in the eighth and ninth centuries AH, and exquisite manuscripts were written in it in Herat, Shiraz, Gilan, and possibly Yazd. So far, some studies have been done on the coins and documents written in this script, but no research has been done on the Uyghur script and the recognition of the Iranian manuscripts written in this calligraphy. This article is a historical and manuscriptologic study to understand the use of Uyghur calligraphy in Iranian manuscripts. In this article, the author seeks to clarify how many copies of this scripts have remained in the field of Iranian culture so far. Also, what is the scope of the history and connection of these manuscripts in terms of art? In this research, while introducing some unknown copies to the Uyghur calligraphy, an attempt is made to express the artistic features of these copies. The Uyghur script in the well-known versions is influenced by the Arabic and Persian alphabets, and is more like Naskh, and was not used for writing after the ninth century.

In the Zoroastrian tradition, the most important and comprehensive issue is the ambiguity in history and the disregard for time and chronology. Perhaps the recording of time in the sense of its finiteness, with the clear validity of its inevitable beginning and execution, as well as the destruction of evil as the wisdom and providence behind the finiteness of time, has caused the Zoroastrian tradition to never record events and study them in a historiographical process. Zoroastrianism, from the time of the prophet to the present day, has never produced a specific historiographical text. As much as the future and the end of history have been dealt with in the form of futurity and prophecy, the present and ultimately the past, which is the result of the chronology of the present, have not been considered. History in the Zoroastrian tradition is a predetermined narrative which, according to the necessity of the battle between good and evil, takes place gradually and over time, by the will of Ahura and the help of man; hence, it is not the past and present, but the future and the time of salvation and the triumph of good that matters. Thus, looking back and remembering the past is limited to myths and legends that reinforce the hope of a certain future. In addition to scattered documents, especially historical narratives outside the Zoroastrian tradition, often the narrations of neighbors and enemies of the Zoroastrian religion, some texts within the tradition also have historical value. It is true that religious texts are all timeless and oversee religious and ideological issues, but they have retained valuable inscriptions, memoirs, conclusions, and additions to the margins of their papers that have somewhat emptied historical texts. They fill it especially chronologically. In the following speech, the study, identification, classification and mention of the margins of the religious texts of the Zoroastrian tradition, as a tool and framework for the chronology of the history of the mentioned religion, will be discussed.