جستارنامه فرهنگ و هنر اسلامی
پیاپی 1 (پاییز 1401)

Islamic art has a huge treasure of deep mystical meanings, the symbol, which is also called a symbol, appears in different fields with different meanings, which can cause diversity in the expression of thoughts and opinions. Human life is full of symbols or symbols. The symbol of the sky is one of the symbols that is widely used in religious mythological literature and poetry and prose, as well as on the artworks of many ethnic groups with different purposes. The results of the research show that the verses related to the sky in the Quran are very diverse and interesting. In Iranian symbolic mythology, brightness and light come from the dome of the sky. And the sky is a symbol of man, kingdom and known father. Its reflection can also be seen in literature and mysticism. These symbols have been widely used in decorative arrays and handicrafts for a long time, and the ancient Iranian artist expressed the subject and theme in the most appropriate way with a correct attitude and natural use of visual elements and visual qualities. The symbol of the sky in the Quran, mythology, literature, mysticism and art of Iran is completely consistent with the interpretation of its meanings in the Quran, mythology, literature and mysticism.

Comparative literature is one of the old and respectable disciplines. Cultural dialogue between ethnic groups has been customary for a long time and we can consider a common origin for the origin of the narratives of each nation. This field examines the intersection of literature in different languages and finds complex and numerous literary links in the past, present and its historical relations in terms of influence in the fields of art, literary schools, intellectual currents, topics and people, and it can even be called a dialogue between Knowledge of civilizations and cultures. Ferdowsi's Shahnameh and Homer's Iliad, as eternal literary epics, are among the rarest topics of this literary field and can be analyzed in three different fields from the perspective of its characters: Tehmina, Penelope-Rostam, Ulysses, and the concept of the city. This research deals with these areas in a descriptive and analytical way

The sun is one of the elements that has been worshiped in the past and with the advent of monotheism, it has been revered and respected by the people. In the Holy Qur'an, God is repeatedly introduced with words such as the light of the heavens and the earth. The sun is one of the allegories of light, and by the light of the sun, the world is illuminated and the darkness is ended. According to these descriptions, the sun is introduced in mysticism as a guide and illuminator who guides the seeker to the right with his light and brings him to perfection. On the other hand, everything that is in front of the sun is emptied of worldly shadows and belongings and its whole being is filled with light; as a result, it reaches the principle of unity and every bit of its being is filled with divine light. On the other hand, the designs of the sun were depicted by early humans on the walls of the cave. As time went on and living conditions became more advanced, these motifs were engraved on pottery or metal utensils and other handicrafts. This role has changed over time and according to the political and cultural changes of each region. The symbol of the sun in handicrafts has not been far from human beliefs and mirrors. This research seeks to answer the question "Is there a similarity between the role of the sun in mystical literature and Meybod handicrafts?" We came up with a descriptive-analytical method and came to the conclusion that all the mystical meanings of the symbol of the sun can be seen in the handicrafts of Meybod city. The symbol of the sun in handicrafts conveys many mystical meanings such as unity, guidance and perfection to the viewer.

Timuri's Zafarnameh is a praiseworthy book about the biography and battles of Amir Timur Gorkani. Zafarnameh 935AH, which was executed at the beginning of Shah Tehamasb's Safavid reign, is considered an exquisite copy with 24illustrations attributed to Kamaluddin Behzad. The picture of the battle between the troops of Timur and the troops of Faraj is one of the pictures of the mentioned book. The purpose of the current research is to investigate the concept and symbol of color in this painting and to answer the basic question of what are the characteristics of color in Islamic paintings and what is its place in painting? done The research method is descriptive-analytical and it is the method of collecting library information. The results of the research indicate that the element of color has a special place in the art of Iranian painting, and since color is the most effective and prominent aspect of sensory images and visual descriptions, Iranian painters did not illustrate their works without paying attention to divine concepts. Is. In the image of the battle between Timur's troops and Faraj's troops, which has a geometric structure based on diagonal lines, the colors are divided into two groups, cold and warm, and the amount of use of both is relatively the same. Each color spectrum has its own concept, which the painter has used these colors according to these concepts

National identity is the feeling of belonging to a nation. A feeling that shows its reflection in traditions, culture or language or politics. Human societies are becoming more and more attached to the world around them. National identities are for resistance against global cultures because they have more power and prominence in front of societies. Now we have to see how the cultural situation of our country, Iran, will be in this era and will we be able to form our cultural and national identity based on our needs and requests? In this article, an attempt is made to find out, by using analytical-descriptive method, whether accurate and consistent solutions and correct policies by promoting cultural and artistic activities can not put the national identity of Iranians in conflict with cultural invasion and what factors can cause Our cultural strength and growth. In this research, the assumption that the emergence of the media was one of the most important factors in the expansion and institutionalization of identity is also investigated.

Iranian-Islamic culture and lifestyle is one of the most important concerns of the agents of the Islamic Republic of Iran from the beginning of the revolution until today. Television is one of the media that attracts a large audience, especially the TV commercials that are aired during prime time. This article deals with the representation of Iranian-Islamic culture and lifestyle in TV commercials. In this research, which was conducted using the qualitative content analysis method, the theories of changing social values and persuasion were used for the theoretical framework of the analysis. Among the 538 ads in the first four months of 1401, 8 ads with the most components related to the research topic were selected. The findings of the research show that commercial advertising is divided into two dimensions: values and anti-values.Familyoriented, religious-spiritual and cultural approach, simple life and respect for traditions in terms of values and luxury, consumerism, class approach and degradation of moral aspects are among the most important anti-value aspects of the findings. The most important results obtained indicate that commercial advertisements represent a prosperous and prosperous life regardless of the economic problems of the people. This approach leads to the feeling of deprivation, frustration of young couples and young people, the value of consumerist life based on installments and loans, and the explanation of a prosperous lifestyle and less childbearing.

The issue of covering in today's society, in addition to being considered a basic and natural necessity, is also very important from a "social and cultural" point of view and displays various functions and meanings. Studying the common styles of women's clothing in the society enables the necessary knowledge about the current culture, and the possible developments and changes, and can depict the cultural strengths and weaknesses, hence this The research was carried out with the aim of "sociological review of women's clothing style in Iran and the analysis of factors affecting it" and with a descriptiveanalytical method. The conducted investigations showed that 1. Today, the meaning and concept of clothing style has changed for women and clothing style is used to show lifestyle, aesthetic styles, classeconomic base, identification and type of opinion. (or at least showing one's dependence on a certain social stratum and class and finding false identity and showing the role and type of culture) is used. 2. Considering the recent decades' developments in women's clothing style, factors such as "Islamic culture, characteristics of modern lifestyle, consumerism and fashionism, modernity, media, especially new social media and structures Social-cultural such as "social comparisons" have played the biggest role in the changes in the type of clothing and the prevalence of different types of clothing styles in the society. Therefore, according to the culture of the Iranian society, which is a religious and Islamic culture, some of the common styles of clothing in the society are in conflict with it, and there is a need for localized Iranian-Islamic models to be paid more attention to clothing designers. should be placed and try to popularize styles of clothing in the society that, in addition to being compatible with the modern lifestyle, adhere to Islamic-Iranian values and norms.