جستارنامه فرهنگ و هنر اسلامی
پیاپی 5 (پاییز 1401)

From the Caucasus to the Indian Ocean and the lands of Jihun to the Mediterranean, all were under the rule of the Mongols during the Ilkhanid period. The Islamization of the descendants of Genghis Khan and the change of their religion from shamanism to Islam caused them to establish governmental and religious unity in the banks under their control. Art was considered as an effective factor in the manifestation of Islamic thought and a cultural element in this period. War, immigration, and religion are important factors in the acculturation process, and we are faced with all three cases during the Ilkhanate period. The invasion of the Mongols to Iran, the religion of Islam, and also the migration of artists to the court of Ilkhans caused Iranian cultural themes to be combined with Islamic elements and Chinese artistic thought and to appear as an element of acculturation. which is the problem of the present research. Because the results of adapting the nature, structure and visual cognitive characteristics of the patterns in the textiles cause cultural interaction and visual reflection of the word of God and its connection as a living and dynamic element, brings commonalities that are visible as a result of acculturation. Examining all the above-mentioned factors is an answer to the question of how art fabric in the Ilkhanid period as a phenomenon in the metaverse world can be considered an element of acculturation? The current research is based on the method of data collection based on (documentary-library) studies and is used with a descriptive-analytical approach.

Islamic art is not an art that is only related to the religious issues of Islam. The term "Islamic" refers not only to the religion but also to the rich and diverse culture of the people of the lands where Islam is prevalent. The wisdom of Islamic art is a truth of the various forms of the universe that the truth of the existence of these forms comes to the fore in the form of painting, calligraphy, etc. Art that arises from the essence of pure human existence, and the more an artist refines his soul and existence, the more his art affects people's hearts and minds and is more lasting. Iran is the cradle of culture, art and civilization, therefore the arts related to literature, poetry and writing are formed in the most complete and profound way in different historical eras. The art of arranging books and decorating writings has been popular in Iran for a long time. Qurans and many literary and scientific manuscripts from different eras show this issue. Poetry is one of the arts that is especially used in book design and is used to decorate and beautify books and literary and sacred works. Tashir is a term and a method in Iranian gilding and painting or painting, which is used in the arrangement of books or pieces of calligraphy, miniatures, and patches. In fact, Tashir is a type of manuscript decoration that is done on the margins of the manuscripts, usually with one or two or even three colors of gold. In this research, we intend to study and examine poetry in the two Timurid and Safavid periods, and discuss the relationship between Islamic wisdom and art with this valuable art. The research has been carried out in a descriptive and analytical way and aims to answer this special question: "What is the relationship between wisdom and the art of poetry, and based on what logic can this art be considered a judgmental art?"

Islamic art refers to the works of culture and civilization of Muslim nations in the Islamic era [Islamic history] and has characteristics and descriptions that can be talked about in the world of tradition and mystical aesthetics. In the meantime, Titus Burkhart is one of the researchers who has made extensive studies in Islamic art and architecture - especially in the art of the Western Islamic countries - and is among the prominent traditionalists who is a researcher in the field of Islamic art and has significant works of his own. left He researched Islamic art, especially the elements of judgment and mysticism in Islamic art, and he is one of the first Islamic art scholars who acknowledged the relationship between Islamic mysticism and wisdom and works of Islamic art. Titus Burkhart is one of the researchers who has done extensive studies in Islamic art and architecture - especially in the art of the Western Islamic countries. Researchers believe that examining the works of people, outside of the context and Islamic culture, and what they have to their art and architecture from a third-person perspective, can provide researchers with new horizons - and sometimes even more unknown - in order to gain a new perspective. Intercultural and interdisciplinary, strive in this way. This research with an interpretive-historical approach, through library study and review of the sources of treatises and articles left by Titus Burkhart, with qualitative conclusions, with The classification and formulation of the ideas of this educated researcher has reached six main and ever-present factors in Islamic architecture, of which monotheism, multiplicity to unity, and empty space are the most important.

Although the philosophy of art and aesthetics is a relatively new science, the works of a great mystic like Molavi have the necessary richness to extract the basics of art philosophy. This article seeks to extract the basics of philosophy of art from his point of view by referring to Molavi's works. Although Maulvi never used the word philosophy of art and did not have a positive view of philosophy, and the word art in Maulvi's works has a different meaning than its modern meaning, but in order to extract Maulvi's point of view, we pay more attention to his view on the examples of art in the modern sense. not its literal meaning. Molvi has paid attention to different types of art such as music, painting, poetry, calligraphy, storytelling and even dance and its functions. In this article, by descriptive-analytical method and using library sources, it seeks to extract Molavi's point of view towards different theories about art. According to Molavi, the goal of art is closer to the theory of art for society and ethics, and Molavi's view of art is a tool. Art is a tool to get closer to God and convey better meanings and...

Author, creator, creator, and titles like this remind every human being of the holy essence of God and the pure nature of God. In the meantime, and in the passing of days and ages, there have been people who, by thinking and creating an idea, have given an earthly and concrete manifestation to the heavenly nature of the unique creator. The religion of Islam also provided this platform for calligraphers to think about the appearance of all kinds of lines and try their luck to embody and illustrate the divine word. As the most beautiful Islamic calligraphy, which is nicknamed the bride of Islamic calligraphy, it seems that after years of transformation and development, it tries to show those beautiful divine manifestations as well as other noble human themes. This research tries to address the issue of whether the invention of this method of calligraphy has been effective in the introduction and expansion of Iranian and Islamic art. To give a clear answer on the role of explaining the Nastaliq calligraphy in Islamic culture and art. In the upcoming research, which has been carried out by a descriptive-analytical method and conducting library and documentary studies in a combined manner, with observations made from the images of existing written documents and referring to some theories of historians and experts in the field of Islamic arts, as well as reviewing the circumstances. And the life of Mir Ali Tabrizi as the creator of the Nastaliq script, the originality of Mir Ali's achievement in regularizing the Nastaliq script has been discussed. Also, considering that this line has had a tremendous impact on the aesthetics of Islamic arts over the years, it is examined as a cultural flow in Islamic wisdom and art.

Ritual practice, as one of the most important bio-cultural achievements of man, has had an undeniable role in the material and spiritual life of mankind since long ago. Realizing the importance of rituals makes the need to preserve and protect them clear to a great extent. Rituals are intangible and subjective in the belief of the common people, and like monuments and ancient works, they will not remain objectively in the cultural heritage of a nation, and over time, they may be removed from the history of a nation and forgotten. For this reason, dealing with these themes is one of the most important studies of art researchers. The main goal of the article is to analyze the theatrical aspects and the ritual origin of Mir Nowrozi in the culture of the ancient Iranian people. The main question of the article is, what was the purpose of holding this celebration? In this essay, the author has tried to present a comprehensive picture of this celebration to the reader. To answer this question, the qualitative research method has been recognized as a suitable method. The findings of the research show that Mir Nowruz ceremony was not only for happiness and fun, but it was a fertility celebration that our ancestors held to ensure the fertility of nature. Therefore, all the rites of this celebration are meaningful and have considerable theatrical aspects. The current research method based on the goal; It is fundamental and with a descriptive-analytical approach and the data is collected based on library sources. According to the nature and objectives of the research, this research is a case study.

The main purpose of this article is to examine Sheikh Shahid's opinions on art and beauty based on his philosophy of light and its effect on Iranian performance art. In fact, in parallel with the thoughts of Sheikh Shahid, the equivalent of the effects of this Muslim philosopher's thinking on the thought of Iranian artists is brought so that the reader can make a comparative comparison about the topic raised and get involved with the topic of the article. In this research, first, a general discussion about the relationship between art and wisdom is presented, and then the epistemological perspective of "Sohrvardi" is presented with the intention of being able to express the perspective of the thoughts of this wise sage in a small volume, so that the reader can have a general knowledge about him. to achieve Then it entered the category of light and its meaning and place in the Qur'an, hadiths and other religions have been examined to be a prelude to entering the category of "Sahvardi's" light wisdom, especially the light of "Khora" which in his enlightened wisdom It has enjoyed a high position. Then, the effects of his thoughts on the works of Iranian artists have been researched with a general view.