نشریه تاریخ و فرهنگ
سال پنجاه و چهارم شماره 1 (پیاپی 108، بهار و تابستان 1401)

The current study tries to unveil Mustufī’s viewpoint towards this religious opinion, using the descriptive-analytical method. The results confirm that although Ḥamdullāh Mustufī did not seek composing a religious text, he disclosed valuable information about the religious situation of his contemporary era. He clearly illustrates the common and main religious approaches of this era and describes the dispersal of different religious schools in Iran.

With the beginning of the era known as Turkmen Beyliks in Anatolia, the Islamic architecture of the region was introduced to some changes, which can be referred to as the transition period. Although the architectural style of the Sultanate of Rum was still commonly present in this era’s monuments, the architecture of some Turkmen Beylik buildings gradually underwent considerable change. These changes were not very noticeable in the Turkmen Beylik architectures of central Anatolia like Qarihmānīyān, but major architectural innovations occurred in western Beyliks including Āydīn and Mantshā.  The present study aims at analyzing the Islamic architecture of this period of Muslim Anatolia in order to illustrate its characteristics and trace its developments.Results show that although the architectural style of mosques and schools in cities like Konya, Magnesia (Mānīsā), Armināk an Tire followed the style dominant during Seljuk era, and although the general characteristics of the previous era remained still, architects of Turkmen Beyliks introduced some changes, including an increase in the surface area beneath the domes of buildings and mosques. As such, and based on the continuity and development in the architecture of the era, the Mulūk-u-ṭavāyifī Turkmen Beyliks era can be considered as the connecting link between the architectures of two important historical eras in Anatolia: the Seljuk era, and the Ottoman era.

This article examines the reflection of ʿAṭāMalik Juvaynī’s critical stance on the Mongols and the residents of cities of Khurāsān in Tārīkh Jahāngushā. In doing so, we will first put forward a critical report of the several previous studies related to this topic. After providing examples of textual modality signs sacralizing the Mongols, we will explore how Juvaynī corresponds the Mongol invasion on Khurāsān with some ʾĀyahs and Ḥadīths as a method for sacralizing and legitimizing Genghis and his successors. We will illustrate how these religious and persuasive tools, as well as some other textual components, add to the coherence of Juvaynī’s account and give it a marked bias, based on which Juvaynī’s critical stance on Mongols and the residents of Khurāsān can be explored.

In order to maintain the operation of many historical-religious monuments like tombs (Buqāʿ), Tikyas, and Imāmzādas among their target audiences in cities and villages, it is important to observe their narrational-religious frescos and restore them. The study was conducted with the aim of examining the factors contributing to the restorer’s role in the figurative reconstruction of these monuments. The study confronts the following question: What are the determining factors of the restorer’s role in restoring these murals by considering the audience’s perception? In order to solve this problem, the study has applied the quantitative method and has used a questionnaire and library studies for data collection. Samples were chosen from among the target audiences of the murals who build cultural-social connections with these works. Statistical Inferential tests (One-Sample T-test and Chi-Square) were administered to analyze the results. The findings suggest that various factors may aid the restorer in establishing an objective for restoration. The factors may also influence the restorer’s methods of restoration. These include: the monuments’ cultural and social value, the expectations of target audience, their mental backgrounds, the monuments’ identity and operation, painting narratives, the value function of the works, and ethical principles regarding restoration.

Muḥammad b. Ḥabīb is a third century A.H./ninth century A.D. historian, whose two prominent works, Al-Munammaq fi’l ʾAkhbār Quraysh and Al-Muḥabbar, are useful sources in the study of the history of pre-Islamic and Islamic eras.The present study aims at critically analyzing the author’s opinion and his two great works. The critical approach towards Ibn Ḥabīb (as a Muslim narrator) and his works (as remarkable works in the history of Jāhilīyyah and Islam) help us in understanding his methods in the historiography of Islam.Research shows that Ibn Ḥabīb explores and provides reports from Jāhilī traditions like Munāfirih and Jār in the history of Jāhilīyyah.  He was especially meticulous in recording the names of people and their lineages, tools, and animals (like horses). In this regard, Ibn Ḥabīb provides reports that cannot be found elsewhere.  Some of the weaknesses of these two works are a lack of organization and cohesion in compiling the Reports, as well as a summarized narration. The most important point regarding Ibn Ḥabīb’s historiography is his trustworthiness and his providing the chain of isnād. This is especially true regarding the history of Jāhilīyyah, where most information has been recorded with citations to Ibn Ḥabīb’s own teacher, Ibn Hishām.Eventually, the writers of this article, based on an analysis of the content of his works, deny the commonly held belief that Ibn Ḥabīb was a Shīʿā Muslim.

 Religious and Shiite thought has had a special place among Muslim poets in different eras, the literature of the Abbasid era also turned to this poetic approach due to their religious beliefs. Hussein Ibn Zahak, one of the Iranian, Tabar, Khorasan and Arabic poets of the Abbasid era, was the first to be influenced by the Holy Quran and the expression of religious beliefs, including the theme of Ashura and the Ahl al-Bayt, infallibility and purity, along with themes related to wind drinking and Male lyric poetry is the dominant content of his poems. Influenced by the great event of Karbala and Ashura, in the era of Abbasid suffocation, the poet expressed sorrow, struggle, expression of devotion, and love and expression of honor and dignity of the Ahlul Bayt of the Prophet (PBUH) and in this way was able to prove his position. Imam Hussein and Ahl al-Bayt (AS) should mention. In this research, by means of content analysis, the poet's religious thoughts and love and devotion, which are dealt with with sincere emotions and full of emotion and simple and explicit language that are sometimes accompanied by irony and irony, the dynamics and reach of these themes is such that the audience , Realizes the truths in the life of the Ahl al-Bayt (AS) in the event of Ashura, and connects their feelings with that great event.

The designs featured on the entrance façades of historical monuments in Iṣfahān convey a meaning beyond external beauty. They are allegorical of a heavenly atmosphere in the building’s entrance, incorporating the myths, symbols, beliefs, and ideologies of their contemporary people, and are inseparable components of architectural ornamentation.  The present study aims at tracing the evolution of these designs using library research and the descriptive-analytical method. With this aim in mind, the paper presents how centuries of encounter between Șafavīd tradition and Pahlavī modernity has concordantly expanded and enriched the designs and their motifs. The study tries to investigate the designs featured on the entrance façades of religious and non-religious buildings in Iṣfahān in an attempt to answer these key questions: Which motifs are most frequently used on the entrances? How have the motifs transformed from the Șafavīd era into the Pahlavī era? And what concepts do these motifs incorporate?Results demonstrate that floral and geometric patterns most frequently feature on the entrances of Iṣfahān’s monuments (among 200 case studies). Human and animal figures have also increasingly featured on the entrances since late Qājār and Pahlavī periods.The entrances of Iṣfahān’s monuments, originating from the Iṣfahān School, create an earthly image of the world of the Forms in balance with the terrestrial world and reach unity of expression as an entry into the lost paradise following the dominant worldview.

The Bakhtīyārī Āstirikī tribe is an ancient Iranian tribe. The current study employs library and descriptive-analytical methods in order to examine the role and status of this tribe in political-military transitions in Iran and central Zāgrus from the Mongol era up until Qājāriya. It is suggested that the Āstirikī tribe has been the largest and most powerful family tribe in central Zāgrus for more than six centuries after the spread of Islam. The tribe’s leaders ruled over the Bakhtīyārī province for a long period from the Ṣafavīd era until the rise of Qājārs, in diarchies issued by the central government and under the titles of “Khān-Sulṭān” or “Khān-Khān”. They participated in Iranian battles against foreigners and secured victory. Some of their greatest accomplishments in the political-military transitions of Iran include: rebellion and declaration of autonomous government by Amīr Tājmīrkhān Bakhtīyārī Āstirikī, Amīr Jahāngīrkhān Bakhtīyārī Āstirikī’s participation in the battle of Yerevan and defeating the Ottomans, the Hamidān War and forcing the Ottoman army out of town, battle with Maḥmūd Hotak, the conquest of Herat and Qandihār during Nādirshāh’s reign, and accepting Iran’s regency by ʾAbulfatḥ Khān Bakhtīyārī Āstirikī after the death of Nādirshāh. The article draws on seven documents alongside library resources.

Resembling other historical battles and combats, the uprising of Imam Ḥusayn b. ʿAli (Peace be upon him) and the incidents of ʿĀshūrā included several talks and negotiations from beginning to the end.These talks were occasionally fruitful (depending on the circumstances), but proved ineffective and failed in the end. The battle of ʿĀshūrā began just as the negotiations came to a halt.This paper aims at providing a comprehensive and accurate report of the number of negotiations conducted between the two parties and their details. By means of underlining this issue, the study also tries to provide a better and more beneficial understanding of a less-charted area of the uprising. The research compiles a comprehensive report of the negotiations during ʿĀshūrā, including additional details and speculations in a relatively shorter separate paper. Similar to most historical studies, the research has employed the inductive-analytical method and is based on early historical sources.

Sayyid Riżā Mūsavī, better known as Nāṭiq Nīlī, is one of the unknown poets of the 13th century A.H./19th century A.D. in Afghanistan. He was born in A.H. 1228/A.D. 1813 in the Dāykundī province. Two works remain from this gifted poet: Shikarbāgh, and Ṭūfānal-Muṣība. Not only the two books introduce parts of Afghanistan’s literary and cultural values to the new generation, but also, they generally of assert considerable importance in the field of Persian language, because they can be used in Iranian cultural studies as a reliable record.The study applies the analytical-descriptive method and attempts to explore the literary and cultural legacy of this poet-critic. The study also offers insight into the characteristics of Nīlī’s life and works for fellow Persian speakers in the Islamic Republic, in hopes of strengthening the bonds between two nations sharing the same language and literature.