نشریه پژوهش های ایرانشناسی
سال دوازدهم شماره 2 (پاییز و زمستان 1401)

The story of Layli and Majnoon is one of the most famous love stories in Persian literature, which has Arabic roots and has been transfered from Arabic language and literature into Persian. Nezami is the first Iranian poet who translated this story into Persian. After Nezami, other poets have also recreated this story under his influence.The story of Lily and Majnoon, like many other cultural traits, has spreeded through different cultures through Persian language and literature and its cultural activities with the literature of the tribes and people who were enteracted  with this culture and language.  It  has also been recreated in their languages and literatures.In Balochi literature, two stories can be found that are narated with Layli and Majnoon impression.The first is a story called Layli and Majnoon or Layla and majna and the other is the story of Hani and Shaymorid.The first story is not very famous, but Hani and Shaymorid is the most famous love story in Balochi literature. This poetic story, like many other old fiction poems in Balochi literature, does not have a specific poet. The narrators have narrated its narrations in different dialects, but naturally there are differences in the details and the number of poems and the number of verses of its narrations. Hani and Shaymrid has significant similarities with the story of Layli and Majnoon, which can be investigated from the cultural interactions and  literary impressibility perspective , considering the constant interactions of Balochi literature with Persian language and literature. Just as Nezami’s Layli and Majnoon has been influenced by the social and cultural context of Nezami's society in comparison with the narration of the same story in Arabic literature, Regarding the story of Hani and Shaymorid it is noticeable that the characteristics of the social and cultural context of the host society has influenced that and transformed to an expression of its social trait. In fact, Hani and Shaymorid can be considered  as the Balochi version of Layli and Majnoon.

Manifestation of spring messengers is a special matter among the New Year signs of Iranian culture.It has been years “Haji-Firouz” is known as a messenger of spring  in cities especially in Tehran city. The purpose of this research is investigating of Haji-Firouz character and an archetypal approach of him reference to the Jung’s psychological theories. Psychology is one of the sciences that has a multilateral connection with rituals and myths. Archetypes are one of the important subjects among Jung’s  psychoanalytic and personality psychology.  Although these elements are   located in the collective unconscious of man, they show signs in the conscious mind that cause the type of archetype to be recognized, and this recognition has made it possible for mankind to understand the symbols and mysteries of the mind and nature.In this research, concentrating on Nowruz ritual and considring Haji Firooz characteristics features ,symbols and signs, the attempt is to explore his nature compared to Jung's archetypal and collective unconscious relationships point of view so that the hidden mysteries in this character have been known more clearly. The questions this study is trying to answer are: What has been the reason of the continuation of Haji Firooz existence till now? To what extent the character of Haji Firooz overlaps the framework of archetypes which are the bridge between science and myth?According to the result of this research, we can look for "self" archetype as the most adjustment of Haji-Firouz and Jung archetypes. Properties such as iteration, correlation of mandala geometric symbol with tambourine, Snake’s bestial symbol and eternity and its connection with Haji-Firouz hat are mediatative in this case as well as the feature of opposites sum and mutual confrontation. Also presences of Haji-Firouz features in “Anima”, “Shadow” and “Mask” archetypes are traceable too. This study shows Haji-Firouz can be consider and placed in the scientific myth framework that is why in spite of deep cultural and political evolutions through the history it has lived in collective Iranian subconscious and its presence has been continued in Iranian objective cultural world. This investigation has been performed based on collecting information which was carried out with a analytical-descriptive method.

Neishabori dialect is considered as one of the oldest eastern dialects of Iran, which has special coordinates in terms of phonetic and grammatical features. In this essay, in the descriptive-analytical way and the method of document analysis and data mining, based on library studies and using the author's pseudo-language, as an Neishaborian informant, main phonetic processes are investigated, types of phonemes of this dialect are described and explained, and we have categorized and divided each phoneme by using its distinctive feature. In the following, the subject of suffixes and prefixes,  has been examined as well as the conjugation of verbs and their tenses. The research results show that the phonemes of Nishaburi dialect include 33 phonemes; Hamzeh is hardly heard at the beginning of words in Nishaburi dialect, some phonemes such as "A" and "H" are pronounced clearly and thickly in Arabic words. Both phonemes "gh" and "q" are present in the language at the same time. Unlike standard Persian, some syllables start with a consonant without a vowel. In the Nishaburi dialect, there are changes in vowels, some of which are completely irregular and others are regular. Elision, metathesis, fusion, displacement, difference in pronunciation of some verbs such as past continuous and past participle, special usages of affixes are some of the features that causes the difference between Nishabori dialect and standard Persian. Also, according to this dialect, some lexical etymologies can be completed and revised.

The hunting icon is one of the first function's that mankind has always tried to depict throughout its history. In ancient Iran, hunting has a religious role and has an important place. In the meantime, Mithraism is one of the religions that has perpetuated the notion of hunting through images. One of these images is the scene of Mithra hunting in the altar of Dura-Europos. We see the repetition of this image in Taq-I Bustan and in the hunting scene of the king. To study the continuity of the hunting scene image (the hunter Mithra to the hunter king), we have used the iconography approach of Erwin Panofsky.Continuity and repetition is somehow implied in the image-icon and is the internal logic of iconology, Iconology is one of the most important approaches that has been used in the study of image. That’s why we use this approach in the present study. The main question of the present article is why the bas-relief of the hunter-king in the Taq-I Bustan is the continuation or conceptual continuation of the same idea of the hunter Mithra on the wall painting of Dura-Europos? The research method of this article is descriptive-analytical and the materials have been collected through documents and libraries. According to the two images studied, it can be said that the idea of practical hunting is to show the struggle between Mithra-Shah and the forces of evil, in order to show the victory of good over evil, and in this way practices such as teaching the principles of aristocracy, passing stages of youth-practice,  sacrifice, killing the boar and its associated symbol, etca are continuaously accompaniments of hunting action. The iconology of the idea of hunting shows that the concept of hunting has gone beyond hobby and its mere meaning and has taken on historical, cultural and religious-political values. Moreover it has continued over time and has been repeated and preserved in images like in Taq-I Bustan.

Mohammad Taqi Djonoun Ardabil, known as Djonoun is a poet of  second half of the 11th century and the first half of  12th aentury.As its represented inhid poem, he spent  most of his life far away from his homeland. Forthermore his name hasn’t been recorded in any Tazkirahs or literary history books. “Al-Dharīʿa ilā Taṣānīf al-Shīʿa” (List of Shia Books) by Agha Bozorg Tehrani is the oldest reference with a little information about him and all other resources have referred their claims to this book. His 86-page manuscript divan in Persian language is the only reliable source about Djonouni, which can provide information about his life by searching through his poems. The only available hand-written manuscript of his Divan is kept in the Parliament Library, which isn’t  even complete and  some of its pages are missing. Because of all the reasons above, further investigation is needed on his personal and literary life. Pursuing both the Khorasani and Iraqi style, Djonouni has viewed romantic epigrams with his critical and his own specific literature in poetry. He, as in Indian style, is closer to Saeb Tabrizi. Djonouni’s poems are categorized in 8 forms: Qaṣīda, Ghazal, Quatrain, Tarjīʿ-band, Mukhammas, Part, single verses and "Jangnameh mas̄navī " in Azeri language. The main content of his verses is often about the praise of the Prophet Muhammad (PBUH), Shia imams and the noble men of Safavid era. Another manuscript attributed to Djonouni dated 1100 A.H. is available in the "Malik" National Library and Museum, which was edited by "Iraj Afshar" and apart from his name,pen name and the date of its writing, there is just little information about the poet. Apparently, in addition to poetry, Djonouni is also involved in calligraphy and in that described manuscript, he wrote the works of a number of poets and writers before and after him with his individual composition in Nastaliq script and signed them with his name "Muhammad Taghi Djonouni".  He has also added some verse paragraphs of his Mukhammases. In this article, an attempt has been made to obtain information about the poet's biography along with analyzing Djonouni’s poems, and also to correct his two unique Mukhammases.

European's travelogues are important in understanding "another view",  in anthropology and cultural-social history studies area. Sufism and Dervishes are one of the prominent topics in European travelogues, especially in the Qajar era. From this perspective, the present research is based on the analysis of the travelogues of the European travelers of the Qajar era, who have described and sometimes analyzed dervishes in their reports. It’s obviously clear that issues such as:Sufi dynasties  considering Dervishes as a class, Sufism lineages, and Dervishes' behavior and worldview are often associated with ignorance of Sufism, prejudice, superficial, and incognito. The approach of this research shows the four components of "Oral Dervish Literature", "Beliefs", "Beggary and Unemployment", "External journey", "Spells and Magic". "Using intoxicants and hypnotic substances" are  more prominent in western travelogues. A few of these travel writers, including Polak, Browne, and Gobineau, have an Orientalist approach in its research-following sense towards Sufism and have combined it with their observations; Among other things, they have presented reports about the Sufi dynasties of the Qajar era, especially Ahl al-Haq, the origin of Sufism, and Iranian Enlightenment thought. Apart from this, in other travelogues, the spirit of Sufism is often not mentioned. In most of these travelogues, Sufism and mysticism have been relegated to the school of laziness and unrestrainedness, and wandering dervishes and storytellers have been portrayed as addicted to weed and marijuana. The results of the description and analysis of the aforementioned travelogues show that the reports of these travelers about Sufism in the Qajar era has only been narrated  in the form of "affected dervishism", along with "generalization", "defects", "strangeness" and " Magnification".

Apart from the artistic and historical aspects, paintings are one of the cultural, artistic and literary manifestations in different periods of Iranian art history. The first aspect of the importance of these issues is the connection with the rich Iranian literature and the transmission of literature and cultural and artistic traditions of different periods. The study of these works can be important for their conceptual, symbolic, literary and decorative features and visual features. One of the examples of the connection between Qajar painting and literature is the manuscript that was painted by an artist named Karamali in the Qajar period and no specific information about his life is available. The painting, numbered LOT144 R, sold for 6 6,000 at the 2018 Bonhams Auction in London. This copy was made and customized for Mirza Mahmoud Khan, the representative of Iran in The Hague, the Netherlands. This version has 24 images, 9 of which were sold at auction and its images are available. The purpose of this research is to find out the characteristics of Lily Majnoon version related to the Qajar period, which features are influenced by its period. The question of this research is what visual features does this Qajar version of Lily Majnoon have and what effect does it reflect on the atmosphere of her time in painting? The research method in this research is descriptive-analytical using library resources and reviewing the linear sample of Bonhams auction and the method of analysis is based on the principles and visual rules used in the manuscript and its appearance features. The necessity and importance of research is that this rare Qajar version has not been introduced and studied so far and reflects the cultural and artistic features of the Qajar period in linear painting of this period and shows the necessity of this research.

The continuation of war and insecurity throughout history has been one of the most important concerns of governments and people in various geographical areas. War as Jihad,  is one of the ten branches of the Islamic religion,  which means campaigning with enemies and using maximum power to spread Islam or fearing of its dominance, and it has rightful and justice-seeking goals; For this reason, it is called "Holy Jihad". Whatever the cause of war, its ultimate goal is peace  creating an ideal society. From a jurisprudential point of view, establishing peace is possible in three ways: Primary war, Defensive war, War with hypocrites and rebels. Islamic thinkers call the title "Primary Jihad" instead of "just war". The purpose of primary jihad is to establish divine and rational laws in the Islamic land ,to invite polytheists to it and to fight against rebels, and taking over the land is not an option. One of the examples of war in the political geography of the Islamic world dates back to the Ghaznavid period. The campaigns of the Ghaznavid sultans, especially Mahmud, were carried out under the slogan of "war for the sake of religion" and against the Indian pagans, while their purpose was actually to capture the spoils of war. The purpose of this article, which was carried out with a descriptive-analytical method, is to identify the reasons for the occurrence of war in the geographical territory of the Ghaznavid government with reference to the history of Beyhaqi. By researching the history of Beyhaqi, this article shows that three main reasons were influential in the emergence of "war for the sake of God in the geographical territory of the Ghaznavids": 1. The political situation governing the institution of the Abbasid caliphate; 2. The influence of the institution of religion on the rise and fall of the Ghaznavids; 3. Mutual support of the Ghaznavids and the Abbasid Caliphate. Also, this research has shown that none of the wars of the Ghaznavid period was an example of "war for the sake of God". Only a few cases of war with rebels can be found based on examples in Bayhaqi history, otherwise, the text of Bayhaqi history testifies that most of these wars were carried out with the aim of consolidating power, gaining wealth, exerting power and force on the people, and had nothing to do with the Islamic rulings on war and jihad.

Nutrition is one of the basic human needs for living, but the rules related to the preparation and consumption of food in different societies have been accompanied by rituals and ceremonies that have transformed them from a natural need into a cultural construct. Food and rituals related to it have been represented in various ways in written and visual documents remained from protracted ages and can be studied as a special symbolic system. Based on this, the present research tries to answer the following question by collecting data from paintings and travelogues of the Safavid era that refers to food and  the ceremonies related to it. What is the meaning of the representation of  food  rituals and courtier cuisine in the paintings and travelogues of the Safavid era? Based on this, while describing the rituals related to eating in the Safavid court as a symbolic system, the implicit meanings of these representations have been pointed out. The result is that there is a significant correspondence between the visual and written documents studied about the food customs of the Safavids; However, according to their own characteristics, each media has placed more emphasis on a part of court food rituals. The formal form and decorations of the dishes and arrangement of the spaces in the pictures and cooking steps, the way of using the food and the feelings of the guests in facing the cuisines rituals are expressed in the travelogues with more precision and detailed details. Nevertheless, the implicit meanings that are inferred from both groups, emphasize the wealth, generosity, and power of the ruling class, as well as the manners, clothing, and aesthetic views of Iranians through the types of foods, the way the choirs are built. And the arrangement of the space.

In cosmology of certain Shamanisms, and specifically the Asian Shamanism, the universe  is embodied with three different cosmic regions, connected to each other through a central axis. Shamans are able to ascend to the skies and convene with the Gods, or descend to the underworld and battle with the demons of death. In the state of ecstasy, they descend to the underworld, and learn the ways to conquest the demons from those Gods ruling the underworld. For Altaic people, “The descent to the underworld” is the function of Black Shamans whereas “The magical flight” is that of the White Shamans. Several of the most famous journeys to the underworld in epic literature and mythological sources are structurally shamanic. The mystics use the Shaman methods to reach the state of ecstasy.In this article, we have investigated the effects of the duality phenomenon in Shamanism, By looking at the Iranian mythical resources,  we have analyzed two mythical characters named Jam and Afrasiab’s trips to the underworld, which are named “Var Jamkard” and “The Descend of Afrasiab to The Underworld”. We have also used the universal symbolism of “the difficult bridge or the passageway,”  that has examples in the rapturous trips of the Asian Shamans, to discuss the Zoroastrianism myth of Chinvat..

Ghandijan is an archaic city from Sassanian era to the early Islamic period.Its remains are located in an area of approximately 600 hectares near a village called Sarmashhad in Dadin district in the southwestern part of Fars province. The ruins of this prestigious ancient city which are identified in the authors' investigation, includes Tell Khandaq, Bahram Caravanserai, Qizqala, Tell Naqarakhane and the single arched building, which are scattered in different parts of the city.Despite the importance of this ancient site and the wide range of cultural materials in its area, comprehensive and detailed studies have not been carried out regarding the shape and function as well as the spatial organization of this city.In this research, an attempt has been made to investigate the reason of Ghandijan formation in the Sassanid era and also its importance in the Islamic era. Also, questions about the characteristics of industries and productions, the state of ancient communication routes, the antiquity and use of ancient artifacts of this city must be answered.The analysis of the temporal and spatial distribution of movable data in determining its antiquity, made it clear that the life of this city continued in the Islamic era from the era of the Rashidin Caliphs to the Khwarezmshahs and Atabakans of Fars.The old name of the city probably was “Kandigān” but another hypothesis is “Pandegān”. The early Islamic historians mentioned the name of Ghandejan as a city in Fars state. The context of the city located in the south of Iranian plateau near the coast of Persian Gulf. Sassanid cities were founded on specific styles. Firuzabad was the first City that was built by Sassanian kings in 224 C.E as The first capital of empire. Firuzabad is in rounded shape with regular and symmetrical circle and central core that consist a brick watch tower. The other style based on the ancient Roman cities modeling, The Hippodamus city planning. In Hippodamus style, city was built with four gates rectangular shape and two crossroads(Decumanus maximus, Cardo maximus). Inside the south west of Fars plain near the ruins of ancient city of Sarmashhad rounded moat remains from pre- Islamic period just like the Sassanid city style. The archaeological remains of Sarmashhad present an immigration in early Islamic period. The reason of abondanment is not clarified yet. The reason of Fundament of Ghandijan was spatial situation and connection link of the plain between Bishapur, Darabgerd and Firuzabad to The Persian Gulf. The old roads of Ghandijan has shown the importance of tradeway to Sirāf port in coastline of the Persian Gulf. Sherds of pottery remained on surface of hills in plain. Analysis of pottery style and radiocarbon dating and petrography can represent chronology of the city. In our current studies, we consider all parts of archaeological evidence on the field. Sherds of potteries, mounds, architectural remains and satelite and aerial veiw considered to more provision evidence about the foundation of the city. The key research question is why Sassanian authorities chose this plain for construction of a new city?

Yarsanism, Ahl-e Haqq or Kaka'i- is a Islamic interreligious trend that has considerable background. The history of  its formation, religious principles and its roots, allegorical expression, symbolic expression, symbolic expression and  its mysterious religious literature have aura of ambiguity. Therefore,  the researches has expressed  different conflicting opinions about the historical creation, the roots and beliefs of, Ahl-e Haqq or Kaka'i, there is also a diversity of opinions among the Ahl-e Haqq scholars. The theologians also have shown contradictory opinions about the nature of this doctrine by deciphering the aforementioned texts, translating and interpreting the technical terms and concepts of the Yarsanism discourse which is provided by the special jargon of the oral language, This paper has responded these two  questions: The fundamentals of beliefs and principles of Ahl al-Haq religion are aligned with which of the Islamic sects and in what aspects are they similar?This writing has been written in a descriptive - analytical method based on the original primary texts written in different dialects of kurdish language. This essay examines and explains the fundamentals, religious principles and basic beliefs of Ahl al-Haq, such as the manifestation of God's essence in the universe and mankind, the cycle of life (donai don), which expresses the evolution of the human soul, and the quality of communication between angels and humans, which has been processed with different expressions and interpretations such as: incarnation, immanance, symbol and manifestation.In the following, the initial roots of these foundations in the Kisanieh sect are shown in this article. In the religious sources of Ahl al-Haqq, attention is paid to the two personalities of Muhammad Hanafiyah and Mukhtar Thaghafi, who are also of interest in Kisanieh's thought, increases the connection between Ahl-i-Haq and Kisaniyyah.Ahl al-Haq has been developed and deepened over time under the influence of the surrounding conditions as well as the conditions of the religious era and has become today's form. In addition, belief in three infallible imams is another commonality between Ahl al-Haq and Kisaniyyah.Another goal of this article is  to find out the influence  of this thought from some sects such as Makhamseh, Mansourieh, and Sufism, which led to fundamental changes in the formation and organization of this ritual.