نشریه رهپویه حکمت هنر
پیاپی 1 (پاییز و زمستان 1401)

Caricature is a distorted representation of a person or exaggerated way through artistic drawing. Caricature had always been expressionist, for the Caricaturist plays with likeness of his figure, and distorts it to express just what he feels about his fellow man. As long as these distortions of nature sailed under the flag of satire and humor nobody seemed to find them different to understand. Humorous art was a field in which everything was permitted, because people did not approach it with the prejudices, they reserved for art with a thing. In Persian art, Caricature can be insulting (Heja) or complimentary, and serve a social and political purpose. Some of the earliest Caricature are found in the works of Kamal al-Din Bihzad master painter of Sultan Husayn Bayqara court. Contemporary Historians all speak with glowing praise about Bihzad‘s skill. Some compare and poet in Herat during the reign of Sultan Husayn Bayqara, has told many ascendancies at court of Sultan Husayn. He writes that Bihzad always took with him different illustrations on such occasions. Mostly he took poses. The said Amir had an unusual face and a strange figure. Bihzad with this illustration, such that as soon as Sultan Husayn cast his eye on it his depression and unhappiness turned to delight. Can be told that these illustrations were Caricatures that delighted Sultan Husayn. Such accounts indicate two important facts. Firstly, Bihzad was capable of illustrating subjects naturalistically; secondly, his illustrations can simply be a form of Caricature and amusement. In which case, Bihzad was a pioneer of Caricature in the world.A milestone in formally defining Caricature was Mir Seyyed Ali, Court in India. In his story, Caricature was formalized as the process of exaggerating differences from Ghazali (the poet) figure. This Caricature satirizing Ghazali’s figure with exaggerating pose. Beside the public-figure satire, many artists’ Caricature, used as gifts for a patron. Sultan Muhammad’s painting called as “allegory of drunkenness” was a Popular at street fairs often with humorous results. During Safavid period we can explore a range of topics and techniques, from figure drawing to sketching animals, life of people as humorous entertainment and so on.We discover different drawing style like comics, for example “man attacked By a Bear” by Reza Abbasi. In Safavid time, artists added the depiction of actual events to their repertoire of portraits. Riza Abbasi’s style had matured. His more insight for portraits from this Period is those of figures, such as” Nashmi Kamangar”. Riza in this figure Satirizing a political leader of Qizilbash. A remarkable series of drawings of Anguished men in the wilderness reflect the artist’s troubled state of mind and a reaction against the claustrophobic life of court. Qalandar darvish could, when in ecstatic mood, display deadly violence. Some of Qalandar darvish wandered in steppe or scene of cities in states of heroic self-mortification to achieve communion with universal spirit. Qalandar darvishes lived in cemeteries, even graves, as signs of self-annihilation. They during initiation only ate herbs and were clad in foliage (of the Fig-tree). They went bare foot, a feather expressively Shown in our painter’s works. These works like Caricature and humorous one. The shaven scalp and face of some of Muhammad Siyah Qalam as well as other representations rite of Qalandar darvishes. This article expresses Caricature and humor in Persian painting with this conclusion that Bihzad was one of pioneer Caricaturists in the world

We went through the Fotouhat book and scrutinized it, having this question in mind whether the relation between form and content or word and meaning and also the way they interact with each other, has been a matter of consideration for Ibn-Arabi or not. Additionally, assuming that it has been a matter of consideration for him and he has had a specific point of view, whether he has criticized a literary work based on his point of view or not? We came across some pages in this book intrusively, in which our two concerns have been addressed with a ‘yes’ answer. The gist of his elaborate answer to our first question is that the beauty of an artistic work has two scopes: Presential Scope and Epiphanic Scope. Regarding the presence, this beauty does not have something to do with words or meaning or a combination of them. However, this is related to the essence of that artistic work which is derived from the presential scope and joined to the truth of the beauty of the world of being, every artistic work is the emergence of that truth and simultaneously signifies the brilliance and coverage of that emergence. Now, artistic work is a pure indicator of that beauty. Therefore, this emergence of beauty can be named ‘goodness and virtue’.This goodness is achieved due to a combination of pure word and prodigious meaning. Furthermore, this combination is a mystery which can indulge the viewers of this work from living everyday life in their ‘worldly-nest’ and draw them close to the scope of the truth of beauty and truthful beauty. Then, he begins to criticize a piece of the romantic poem based on this two-scope beauty.We went through the Fotouhat book and scrutinized it, having this question in mind whether the relation between form and content or word and meaning and also the way they interact with each other, has been a matter of consideration for Ibn-Arabi or not. Additionally, assuming that it has been a matter of consideration for him and he has had a specific point of view, whether he has criticized a literary work based on his point of view or not? We came across some pages in this book intrusively, in which our two concerns have been addressed with a ‘yes’ answer. The gist of his elaborate answer to our first question is that the beauty of an artistic work has two scopes: Presential Scope and Epiphanic Scope. Regarding the presence, this beauty does not have something to do with words or meaning or a combination of them. However, this is related to the essence of that artistic work which is derived from the presential scope and joined to the truth of the beauty of the world of being, every artistic work is the emergence of that truth and simultaneously signifies the brilliance and coverage of that emergence. Now, artistic work is a pure indicator of that beauty. Therefore, this emergence of beauty can be named ‘goodness and virtue’.This goodness is achieved due to a combination of pure word and prodigious meaning. Furthermore, this combination is a mystery which can indulge the viewers of this work from living everyday life in their ‘worldly-nest’ and draw them close to the scope of the truth of beauty and truthful beauty. Then, he begins to criticize a piece of the romantic poem based on this two-scope beauty.

The tendency towards "authenticity" has been considered more than ever in developing countries, especially in Islamic countries. Nowadays, revivalist trends have become one of the most important currents in the contemporary art and architecture of Islamic countries. The literature shows that these trends, in addition to their strengths, also had several weaknesses. In Iran, along with the other trends in the developing countries, revivalism acts as a dominant trend in the scene of contemporary architecture. Revivalist trends in Iran, in search of a contemporary expression, decided to establish an outstanding model of the Islamic Republic of Iran. The highperformance architecture theory as a futuristic phenomenon is to outline a future for the architecture of the world especially for the future architecture of the developing countries such as Iran. The context analysis show that Islamic countries of the West of Asia and the North Africa (MENA) region and other Islamic countries. As a leading architectural theory, the highperformance architecture theory is to outline a framework for the interaction of technology and prosperity in order to meet "excellence". The main goal of research is to find the similarities and differences of the proposed theory with other competing theories in the Islamic countries. The main purpose of this study is to reunderstand the revivalist tendencies in Islamic countries, and to analyze their strengths and weaknesses in comparison with the highperformance architecture theory. The methodology of the research is based on abduction and logical argumentation research strategy. Regarding the "designerly" character of highperformance architecture theory, the methodology of the research is to include theory and practice simultaneously. Based on the outlined goal, the results of the research can provide a framework for comprehensive policies in the field of art and architecture of Islamic countries. From a methodological point of view, the research examines the revivalist theories and practices in the art and architecture of Islamic countries with the logical argumentation strategy. For the reasoning process, the research has adopted the descriptive-analytical methodology. In analyzing the effects and procedures, it uses semantic content analysis and modeling methods. Research with a forward-looking futuristic approach, seeking to draw what is the desired model of art and architecture, at the level of the 20-year vision document of the Islamic Republic of Iran; as an inspiring model for other Islamic countries. Research findings show that both anti-technology and anti-traditional trends have been doomed to fail in the field of practice. These reactionary trends led to a kind of "extreme traditionalism" or "imitation architecture" in the contemporary architecture of the developing countries such as Iran. The results show a weakness in understanding the context in order to have a futuristic and a conceptual perspective toward the future. The recent trends suffer from lack of integrity and comprehensive understanding. The results are petro-dollars for a hasty pastiche architectural style in some developing countries which results in environmentally catastrophe and energy-hungry style of development.The conclusion of the research underscores that an essential shortcoming of the existing theories in the field of art and architecture of Islamic countries is the lack of practicality in the field of "design", and the weakness of comprehensiveness in the field of "technology". It highlights that a successful architecture theory has to criticize the extremist traditionalism and the imitation-eclecticism in order to find a way toward the future. The highperformance architecture theory has to respect the context in order to learn from indigenous identity, and to adopt the new technologies in order to meet the excellence in design. In this perspective, it could be an alternative for the future of art and architecture in Islamic countries as well as the developing countries.

Searching and analyzing the classical texts of Islamic mysticism and wisdom with the aim of extracting foundations and concepts that can have commonalities and affinities with the modern perception of art and beauty is one of the main and fundamental goals of theoretical studies of Islamic art. Based on this, this article aims to research the concept of Al-Fann (Art) and Alsinaeat (Craft) from the perspective of Ibn ʿArabī, one of the leaders of theoretical mysticism in Islamic civilization, referring to his great encyclopedia of thought, the book Al-Futūḥāt al-Makkiyya (The Meccan Revelations), on the one hand, and explaining the meaning and concept. “Al-Mizan” as an answer to the question of what and how tangible artworks are formed, on the other hand. The main question of the research is the conceptualization of art and industry, as well as the explanation of the principle of “Al-Mizan” by referring Ibn ʿArabī's ruling and mystical opinions. This research is based on the hypothesis that Ibn ʿArabī proposes the idea of “Al-Mizan” in response to what or how art works are formed and created. The purpose of writing this article is not to present a theoretical model for the creation of works of art in the contemporary Islamic world, but to delve into the history of theoretical reflections on art and beauty in the history of Islamic mysticism and wisdom. The results of the research show that Ibn ʿArabī not only did not have a neutral thought about the meaning and concept of “Art” and “Industry” and was familiar with the mentioned concepts in his time, but also in the theoretical dimension, works of art in one of he has highlighted his most important works and has made a thoughtful and serious entry into the theoretical field of art and beauty. On the other hand, his theoretical reflections in the field of art and beauty show that these two concepts were under the absolute control of Ibn ʿArabī's “Existential Unity” school. Since Islamic art has a history of more than thirteen centuries and despite the production and presentation of works that testify to the creative imagination and knowledge and skill of Muslim artists, it still faces serious challenges in the theoretical dimension. The challenges that caused the existence of Islamic art to be denied in some cases and its nature to be doubted in other cases. For this reason, the need to conduct research of this kind should be in the focus of attention of researchers of theoretical issues of Islamic art. Based on this, drawing the view of Muslim sages and mystics towards what are known as works of art today can be an acceptable point of departure. For this purpose, it is inevitable to refer to the original Islamic and philosophical sources in Islamic civilization, especially the works of Muslim sages, with the aim of extracting their views on works of art, as well as their theoretical reflections on art. This essay has chosen the book Al-Futūḥāt al-Makkiyya (The Meccan Revelations) by the famous Andalusian mystic of the 6th and 7th Hijri centuries, Ibn ʿArabī, for the research of his familiarity with works of art in the first step, and then a reflection on the theoretical foundations of art and craft in Islamic civilization. This article has been done using the analytical-interpretive method and based on the data collected by relying on library sources.

The humanism of Renaissance art is generally considered the most important difference between it and Christian art of the middle centuries. Due to the fact that in the Renaissance era, a precise philosophy was not formed regarding the definition of man and his place in existence, the theoretical foundations of the emergence of Renaissance humanistic art are subject to many questions. By looking at the opinions of medieval theologians and studying its continuation in the Renaissance period, it is possible to recognize some roots of the formation of the mentioned art. Saint Augustine, in the doctrine of "I believe in order to understand", on the one hand considered religious faith as the source of rational knowledge, and on the other hand, in the depth of meaning, he considered the truth of perception and knowledge dependent on human action.Abelard's theory of doubt as a means to reach the truth, Saint Francis's explanations regarding the fact that the truth is below and inside man rather than above, as well as the belief in the originality of the individual, which was proposed by Ockham, as the theological foundations of the Middle Ages in Along with the scientific achievements of the Renaissance, they were effective in the formation of the humanistic philosophy of that period.After studying and recovering the effects of medieval philosophy on the renaissance period, this article tries to follow the similarity of the mentioned philosophical developments in the world of art. The research method in this article is descriptive and analytical, information collection is done in a library style and data analysis is done in an inductive way. According to the findings of the research, it is clear that the ruling opinions of Christian theologians were effective in the formation of modern thought and, accordingly, the humanistic art of the Renaissance. In the emergence of perspective rules as artistic Subjectivism and also in the representation of God-like man, this effectiveness can be clearly recognized. Although Renaissance painting emphasized natural beauty and physical forms, it did not lose the religious meaning of the past. The simple figures of the past gave way to a kind of luxurious beauty, self-presenting faces with precious clothes, which were obviously full of worldly power and lust. Even the image of the God of Christianity was depicted in the form of a strong and beautiful human. The human-like and powerful God had a sign of belief in God's existential dominion over human rationality. On the other hand, the discovery of new rules of perspective in Renaissance artworks was an attempt to create a rational methodical knowledge of the outside world. Although this vision is apparently at the opposite point of the pictorial tradition of the Middle Ages; However, due to the fact that the principles of philosophy based on the originality of the subject were not explained in this period, it is possible to look for the roots of some of the achievements of the Renaissance era in the past. Where Abelard, by emphasizing the place of doubt as a means of receiving truth, gave theological perception a human and indeterminate nature, or Ockham, who considered science to be the product of human experience and observation, all of them are in the malleability of the idea of representing the world based on indeterminate rules and human sensibility. And finally, the establishment of deepening laws were effective.

Some scholars of the last century have offered a specific definition of "Tradition" and have become known as Traditionalists. Their main concern is the revival of the Tradition in today's societies. Traditional civilization is vital to them, and they seek to traditionalize all things, including art. But the concept of "Traditional art" does not seem obvious and precise, like in other cases described as Traditional. This issue has made it always controversial to clarify the nature and characteristics of "traditional art". Frithjof Schuon, as one of the leading figures of the Traditionalist movement, has made many claims in this regard. The purpose of this paper is to restructure his views on Traditional art. Achieving a definition of "Traditional art" helps us first distinguish a Traditional artwork from another. Second, the artist can use this definition to create Traditional artworks.One of the ways to investigate philosophical issues is to clarify concepts by providing the necessary and sufficient conditions. This method has been widely used in the contemporary philosophy of art. The present study, which uses the descriptive-analytical method, tries to introduce the necessary and sufficient conditions for a supposed work of art to be placed under the "Traditional art" category by referring to Schuon's works. To achieve this, we first extract the features of Traditional art from Schuon's point of view as much as possible. Once we identify these characteristics, we decide which one we can choose as necessary or sufficient for defining traditional art.From Schuon's point of view, the main feature of Traditional art is that the artwork is, in fact, an expression of the intellectual realities of the higher worlds (directly or indirectly). In his view, Traditional artwork, like sacred texts, originates from revelation and indicates indescribable spiritual matters. Not only does he consider the origin of Traditional art to be divine, but he also considers the form of the works to correspond to the same divine truths. Symbolism is a feature that exists in both pure nature and sacred art. Traditional artwork is a symbolic expression of transcendent truths. He argues that symbolic art is inherently related to intellectual reasoning. There is a symbolic relationship between rational intuition and perceptual forms.Another characteristic that Schuon constantly points out is that Traditional artwork is not a product of the artist's mind, and therefore innovation has no meaning in it. He believes that all forms, even insignificant ones, can only be considered human creation secondarily. They come firstly from the same superhuman source that is the source of all Traditions. The following characteristic of traditional art is its functionality. This feature means that art is never created solely for pleasure and artistic aspects in a Traditional civilization. Such a view is clearly in contrast with the "art for art's sake" theory, and Schuon has repeatedly criticized this theory in his work, calling it even the most foolish and deviant idea. The last feature that he says about Traditional art is the conformity of form, raw materials, and symbolism with the rules of Traditional art.Accordingly, by putting these features together, we come to the first version of the definition of Traditional art. In this definition, the concept of "Traditional Art" has five conditions. This definition tells us that if something wants to be a Traditional artwork, it must have all five above characteristics. If something has a combination of these characteristics, it is enough to consider it a Traditional artwork. By further elaborating on each of these five characteristics, we conclude that perhaps only the first condition (expression of intellectual realities) can be considered a sufficient condition. Thus we propose the second version of the definition so that X is a work of art only if it is an expression of intellectual realities.After examining the second version, it becomes clear that it also has a fundamental problem: Schuon indeed believes that all Traditional artworks meet almost all of the above conditions (Every Traditional artwork he has introduced has such condition). Still, it remains to be seen whether the conditions (2) to (5), necessarily have a relation with condition (1)? Knowing that all the Traditional works introduced by Schuon meet the five conditions mentioned above, is it possible to conclude that if something has the first condition, it necessarily has the other conditions as well? Examining this case leads us to the third version of the definition of Traditional art.According to this version, I propose these three conditions: "symbolic expression of intellectual realities", "functionality," and "conformity of form, raw materials, and symbolism with the rules of Traditional art". From Schuon's viewpoint, these conditions can be considered necessary and jointly as a sufficient condition for an artwork to be "Traditional". Finally, with such a theory in hand, one can better explain Schuon's opinions about art and criticize his claims.

In his Poetics, Aristotle considered drama as an imitation of human lives. It can be concluded that cinema as an important dramatic art is not exempt from this rule. Therefore, since cinema is in the position of imitating human lives, it narrates stories that are similar to these lives. On the other hand, philosophy raises fundamental and great questions about life. Therefore, cinema, which as a dramatic art is similar to life in its unique ways and tools, takes a path similar to philosophy in presenting fundamental questions of life and finding answers to them. So, one of the proper ways to understand movies is to study the philosophical questions that are raised in these movies and the unique answers that the movies give to these philosophical questions. The present research has shown how in the movie Everybody Knows by Asghar Farhadi, something similar to the answer to the fundamental philosophical questions on the subject of friendship has been provided. For this purpose, the theoretical foundations of Aristotelian ethics (mainly in Nicomachean ethics and partly also in Eudemean ethics) have been used, which has specifically addressed the issue of friendship in important chapters. The problem of this article is to first examine the place of friendship and its types within the system of Aristotelian ethics in the theoretical foundations section and then to study the Aristotelian philosophy of friendship in the movie Everybody Knows by Asghar Farhadi based on mentioned theoretical foundations. The questions of this research are that first of all, in the film, Everyone Knows how all kinds of friendships are drawn from Aristotle's point of view. Secondly, in the film, Everybody Knows what is the relationship between Aristotle’s view of kinds of friendship and the concept of happiness? And thirdly, in the film, Everybody Knows what is the relationship between Aristotle's view of friendship and the concept of external good. The aim of this research is to be able to gain a better understanding of one of the most important discussions of Aristotle in his ethics, namely friendship, and to make this better philosophical understanding by relying on the study of an important film which one of the main topics of it is friendship. In this way, through a valid philosophical reading, a better understanding of the film is obtained. This research is a qualitative research and has been obtained by descriptive-analytical method and by studying library resources. The result of this research shows that although the movie Everybody Knows can be studied with Aristotle's view of friendship in its ethics, at the same time, it is not completely compatible with the Aristotelian view and even has its independent opinion about friendship in the view of ethics.The approach of this research, in its philosophical foundations, is to explain the concepts of happiness and the relationship between happiness and the moral middle ground from Aristotle's point of view, and then to define the moral aspect of the selfish and altruistic aspects of pity in Aristotelian friendship, and finally to explain the types of Aristotelian friendship with the above principles. Also, in the study of the film, the approach of the current article is to explore the friendship relationships of the characters in the context of the narrative plot of the film in order to show to what extent the theme of friendship in this film is consistent with the Aristotelian view of friendship. and where does it separate from this Aristotelian point of view.

Art has always played a significant and important role in the effective transmission of ideas and judgments.The Wisdom of the Soil in Khayyam Neyshabouri's Artistic MysticismTo explain the aspects and dimensions of Iranian Islamic art, the discovery of mystical and esoteric foundations and contemplation on the inner aspects of this art is an undeniable necessity. Iranian art cannot be identified without mysticism. Mystics and artists reach common ground in the field of Iranian art; Both mysticism and art reach the nature of existence through the path of discovery and rational intuition - that is, the reflection of absolute existence (absolute light). Both the mystic and the artist consider the universe as a manifestation of God's love. The difference is that mystics have no obligation to share their mystical findings with everyone, and this is the reason for using the code language. But artists have to convey their mystical findings in a tangible way. As a result, the most serious topics of nominal art in mystical texts have been highlighted and the most magnificent works of art in Islamic culture belong to those who have walked the path. Since in the field of art and mysticism we see traces of each of these phenomena in the other, we can examine this relationship in the worldview of mystics and mystical artists. The traditionalists who emerged in the world of modernity with the element of tradition seek to create a world using the world of art and mysticism to guide the modern man from the turmoil of the modern world which leads to the originality of the partial intellect to the general intellect. They believe in the influence of art and mysticism on each other and challenge works of art in a mystical context. Mystics and artists look at all phenomena of existence from the perspective of intellectual intuition and consider them as symbols of God's grace. Among these cases we can mention the soil. In the artistic mysticism of the sage Khayyam Neyshabour - whose artistic experiences are in the light of mystical teachings - we sometimes come across words that he has repeated many times in his poems; A repetition that may be a kind of reminder. Among these words are soil, mud, jar, pottery, and the like, the explanation of which can lead to a broader understanding of the valuable foundations of Iranian Islamic art. Khayyam; First and foremost, he is a man of wisdom, and his poetry finds meaning under wisdom. Therefore, he seems to consider poetry - an imaginative and explanatory expression - and a compound for a specific purpose. But what he does is the product of an artistic will in the form of a quatrain — as a capacity for concise, solid, and complete expression. He makes the most of the symbolic capacities of soil and jars to institutionalize his ruling destination. This article is a post-structuralist approach, written by descriptive-analytical studies with the aim of explaining symbols such as soil and jars in his poems, and the author has tried to collect written evidence with a qualitative approach.Keywords: soil, artistic mysticism, Khayyam, world,jar

This article examines and analyzes the Wild Strawberries by the late Swedish filmmaker Ingmar Bergman, one of the most important feature films in the history of cinema, to showcase how this movie creates meaning that is in line with Mulla Sadra's theory of self-knowledge. Self-knowledge has been a very importand concept through the years among scholars and theologians and in all religions since ancient times and is known as the key to the knowledge of truth and the hereafter. In the Islamic philosophical-religious tradition, the human soul is prone to receive scientific truth. Mulla Sadra tried to go beyond the conceptual realm of existence and approach the realm of objective truth of existence by relying on the dimensions of self-knowledge.The clear and distinct conception of "self-knowledge" in the methodology prioritizes other topics, since before analyzing the issues of self-knowledge and judgment about the existence and absence of sentences, attributes, consequences, and dependent variables, one should know what is self-knowledge and what is not? An analysis of the nature of self-knowledge brings us to two preliminary questions: What is the meaning of knowledge in self-knowledge? What is the meaning of "self" here?Sadr al-Mutalehlīn knows knowledge as "presence" and kind of existence. He also believes in the "truth of the soul," the soul is of the "fluidity" type, which is the fluidity of its essence, and moves towards evolution in the "substantial motion" of the lowest "order of being.Given that Sadra considers "self-knowledge" as self-existent, and the presence of the soul depends on its existence, based on the unity of the modulation of existence, self-knowledge in the transcendental wisdom system is of the utmost rank and is subject to the existence of the soul. The existence of the soul at every level is equally presence to itself. These countless degrees can be categorized in four domains of sensory, imaginary, rational, and supra-rational.The point that can be mentioned as Mulla Sadra's initiative in epistemology is that he aligns the ways of cognition and knowledge. Not only does he not see the philosopher's argument as incompatible with the mystic's findings, but he considers the premise of the mystic's argument and austerities as two means of discovering a truth, and in some cases, the presence of both means necessary. On the other hand, Sadra believes in the connection between rational cognition and revelatory cognition. He mentions this emphasis in various places in his books and emphasizes it. He says: Far be it from the rulings of the Shari'a to be in conflict with certain and necessary cognitions, and to destroy a philosophy whose laws are not in harmony with the Book and the Sunnah.This article examines the narrative as well as the illustrations of this film and argues that since Bergman introduces a cognition of the human soul in this film, the dimensions proposed in the film can be applied to the principles of Mulla Sadra's self-knowledge. The present article specifically refers to the cases in which the film can be an example of the discussion of Mulla Sadra's self-knowledge in transcendent theory. This article concludes that there are some notable epistemological similarities between Sadra's theory and Bergman's film.

The studies that have examined the Persian language and literature’s presence in Iranian painting have summarized this presence only as a visual representation of the literary text in the painting, through a type of reductionist approach. This approach only considers and analyzes the research data, the literary texts and the illustrated miniatures that are based on them, and the presence of Persian language and literature is overlooked in the totality of the paintings’ creation process. As a result, in this reductionist approach, the other forms of Persian language and literature’s presence in Iranian paintings are eliminated. In the reductionist approach, the presence of Persian language and literature in Iranian paintings has been ignored, and only the relation between the visual objects in the painting and the text of the poem has been explained and analyzed. The purpose of this study is to identify and distinguish the presence of Persian language and literature in the whole process of creating miniatures in Iranian painting. Therefore, the question is in what forms Persian language and literature have been present in the process of creating miniatures in Iranian painting?The present qualitative study was conducted through content analysis method using the Jürgen Ritsert analytical method. Data collection is done using archival, library and internet resources. Content analysis is a process of reading a text, gaining proper understanding of seemingly irrelevant information, analyzing qualitative information, systematic observation and conversion of qualitative data into quantitative ones. In the present study, the content analysis method has an interpretive nature. And according to the mentioned model, it began with the theoretical stage (i.e. the formation of the initial plans, questions and analyzed resources), and the process of creating paintings and different Iranian schools up to the Safavi era were examined. Then, in the unit construction stage, groups and units of analysis were divided into several categories: "painter" (or their students who did the act of painting), "painting as a product of artistic and technical activities", "collection of technical and artistic actions that the painter applied on the painting". In the data evaluation stage, appropriate analyses were performed related to the research, and the presence of literature was investigated in relation to each of these three groups. Finally, in the results interpretation stage, a conclusion was reached based on the research problem. Accordingly, in the production line of paintings in libraries, three units of analysis can be distinguished: The first is the painter, the painters and their students who did the painting. The second component is the product of their artistic and technical activities on the affected surface, namely painting, and the third part is all the technical and artistic works that the painter and the students performed on the painting. In response to the question of what are the forms of the presence of Persian literature in Iranian painting, the findings of this study show that Persian language and literature have been present in the whole process of producing miniature in Iranian painting. Literature acted as a medium for the artist to understand mysticism, and in order to illustrate the literary text, the mental perceptions of the painter and the writer of the literary text have been united. Persian language and literature also conditioned the minds of some painters due to the calligraphic limitations that prevailed over writing in Persian language and literature. Existence of Persian letters and texts in the form of calligraphy in the paintings, the principle of the internal relation between image and text, and the representation of the opposition between the external matter (appearance) and the internal matter (within) in literature and mysticism in the formal structure of miniatures is a clear example of the presence of Persian language and literature in painting. During the technical operation, the painter looks for the pictorial equivalent of the metaphorical language of literature and prepares a list of conventional motifs. He also uses the metaphorical style as an illustration technique to enrich the image. In addition, the signs that referred to the text were also used to induce psychological aspects.As noted, the inseparable nature of the history of Iranian painting with Persian literature is not limited to the conformity of the drawing and the text. Rather, Persian language and literature are presen

Metamorphosis and its occurrence levels have been widely discussed by many religions, philosophers and schools. In the religion of Islam, metamorphosis is mentioned in the Holy Qur'an and exists in the thoughts and opinions of Muslim philosophers such as Mulla Sadra. In most cases, the explanation of metamorphosis and its introduction depends on understanding its difference with reincarnation; especially Mulla Sadra has made many efforts in this field. Many ethnic groups believe in reincarnation. In reincarnation, after separating from the human body, the soul belongs to the embryo or another body, but in metamorphosis, the soul is not separated from the body, and only the shape and form of the body changes to warn the people. In other words, the appearance of a human being changes to that of an animal, but the soul of a sinful human does not descend from a human position to an animal position. The views presented about metamorphosis can be classified into three main groups: metamorphosis of appearance, metamorphosis of the soul, metamorphosis of the soul and human body. Among the philosophers of transcendental wisdom, Mulla Sadra believes in the occurrence of sequential metamorphosis. First, he considers the metamorphosis to be realized in the level of the human soul, and then he refers to the subordination of the body to the soul. According to Mulla Sadra's opinion, bodies are subordinate to the soul, and therefore when the soul changes due to lust, anger, fear, happiness and similar things, the body also changes and as a result, the appearance also depends on the inside and due to the connection to It, gets distorted. The main issue of this article is the introduction of the main character of the movie " The Animal " as an example of metamorphosis of soul and body. The purpose of this research is to explain the levels of spiritual-physical metamorphosis in the hero of the film "The Animal" and to introduce him as an allegory of a metamorphosed human being. For this purpose, we will answer these questions: To what extent has the hero of "The Animal" reflected the examples of spiritual-physical metamorphosis considered by Mulla Sadra? To what extent have the soul and body of the hero become subordinated from each other? Watching related films and of course the entry of innovative and experimental cinematographers' works with new and creative topics into the field of written scientific research is very important and accordingly, it is necessary to have the opportunity to criticize, analyze and introduce these works with a formalistic approach in the scientific community, so that more and diverse studies can be done on this kind of experimental films. This descriptive-analytical research is of a fundamental type and is in line with theoretical studies in the field of Islamic philosophy. The necessary information and data have been collected through library studies and authoritative articles. First, the theoretical issues were raised and then the short film of "The Animal" was analyzed based on the theoretical framework of the research. Based on this, some scenes from the film showing the levels of mental-physical metamorphosis were selected and analyzed. According to the analysis that emerged from the scenes/shots of the film, the hero of the film "The Animal", was recognized and introduced as a model and example, and in fact, a very close allegory for spiritual-physical metamorphosis. The issue of escape from the situation, has a psychological effect on the hero's daily life and his whole life is affected by the subject of escape. To such an extent that it doesn't take long for the spiritual influences to take over the hero's body completely and make him involved in a spiritual-physical metamorphosis. Although the hero has been shot and wounded, he manages to escape and cross the border by enduring fear and hardship and without considering the dangers. Because of the value he attaches to his goal, he tests his soul and body in this way. By killing a ram and imitating the behavior of the animal, he becomes him and experiences the dream of escaping. In response to this research question, that to what extent the hero has reflected the examples of spiritual-physical metamorphosis considered by Mulla Sadra, the findings indicate that the hero's soul, due to the experience of fear, anger and many failures on the way to his goal and Insisting on fulfilling his spiritual desire (crossing the border), first degrades himself to the level of an animal soul, and in the second instance, he commits his physical metamorphosis by killing a ram. Muslim philosophers believe that a person's identity does not change with the change of appearance. In the film, the hero, in addition to remaining human, wears the guise of a ram on his body and has both aspect at the same time.

Performance art is one of the performance shows in post-modern art, which has special components. Features such as replacing the performance instead of the show, improvisation, the absence of a previous plan and scenario, the randomness of some elements of the play, the indeterminacy of time and sometimes the place, reducing the distance between the show and reality, and the serious presence of the audience are the characteristics of this type of performance. Between the elements of performance art and the Ashura performances that are formed by Shiites and Ashura mourners, a kind of closeness and kinship can be seen. In the Ashura performances performed by mourning groups and groups, palm twirling, flag twirling, chain swinging, chest swinging, machete swinging, financial flower, stone throwing, boiling ceremony, dinner of strangers, mourning groups and the like, which the mourners themselves are doing Ritual actions are examples of performance. In fact, these performances are not for show, but a kind of performance as if it is a religious and ritual act for the performers, and it is not merely a show, artificial and fake. This article is an attempt to express the similarities or differences between performance art performances and Ashurai performances and to compare a specific type of contemporary dramatic literature that has its own audience in the post-modern era with a Shiite ritual art. and also clarify whether it is legal from a jurisprudential point of view to display the character and face of the innocents and religious leaders in performing and performing arts.Drama and performance throughout the history of human life and in the history of art has been a way to narrate and retell the stories of human life, and man has always wanted those stories that are attractive and magnificent or bitter and It was sad, show it. For a long time, before cinema and television entered human life, the possibilities of narrating and narrating life stories were realized orally or through quotations, then through story writing, drama, and sometimes through visual arts such as painting. Storytelling was done. Therefore, the art of performance or in a new term, the art of theater has found a special place in cultural traditions such as ancient Greece, Rome and Mesopotamia. So that one of the most important arts of ancient Greece, as the origin of mythology, philosophy and literature of the West, is dramatic literature, and people like Aristotle, in his art of poetry, leans towards dramatic literature and fiction more than any other art, and discusses aesthetic issues in this context. Pay attentionBy examining library sources and written documents about performance shows in the postmodern era, as well as examining written and observational works of Ashurai performances, it is clear that many works have been written independently about these two performances, some of which The works in this article have been studied and cited. However, no work has been seen on a comparative study between these two drama traditions. In fact, the comparative study is the product of the measurement and evaluation between two issues, and in this article, an attempt has been made to examine the similarities and differences between these two categories of works in two cultural traditions. But there is no written work about comparative study and no one has addressed it.