نشریه مطالعات شبه قاره
سال پانزدهم شماره 44 (بهار و تابستان 1402)

Narrative is a collection of interconnected utterances that create a discourse. According to Levinsohn (2015) one of the essential components of narrative discourse analysis is participant reference. Participants in a narrative may be human and non-human major participants, also human and non-human minor participants such as animals. Languages use different reference devices such as: zero anaphora, noun pronouns and phrases which refer to participants in narrative discourse. This research attempts to describe and examine different ways of participant reference, methods of introducing major and minor participants in some stories of Kelileh and Demneh based on Levinsohn (2015) model. The data examined in this study consists of eight chapters which include twenty stories. In each story, this reference devices were examined in subject and non-subject context and analyzed with SPSS software and Chi-squer test. The results indicated that the examined stories of Kelile and Demne used different reference devices such as: zero anaphora, pronouns and noun phrases which refer to major and minor participants in narrative discourse. Furthermore, the results showed that the reference devices and types of participants had a meaningful relationship. Also, among participant reference devices; zero anaphora had the highest use, noun phrases and pronouns were at the next range. 

As far as the approach of narrative discourse analysis is concerned, Levinsohn (2015) is among the linguists who has presented narrative discourse components in narrative studies. On Levinsohn’s opinion, discourse is a connected series of utterances and narrative is a series of connected events in the form of either spoken or written. Sometimes, the sequence of the occurrence of events is important because it indicates the temporal and spatial distance of each event which, in turn, is a signal of cohesion in a text. Consequently, he deals with the explanation of essential components of the narrative discourse analysis that may exist in a text.  According to Levinsohn’s (2015) model, the narrative discourse components comprise the number of speakers in a text, text genre, text style and text register, being oral or written text, cohesion, coherence, participant reference, thematic grouping, discontinuities, text charting, the main concept of reference, reference strategies, the methodology for analyzing reference patterns and types of speech reporting. So, one of the narrative discourse components is participant reference which refers to types of the participant (major, VIP (very important), minor, human, and animal) and the ways of giving reference to each participant. As Levinsohn (2015) states, languages typically have a fairly extensive range of forms of giving reference to participants in a story which extend from complete ellipsis (in the form of zero anaphora) to an implicit reference conveyed only by the inflection of the verb, to two or more sets of independent pronouns, to a full noun phrase. In addition, he maintains that, in many cultures, the easiest narratives to obtain are traditional folktales such as animal stories; they can be very valuable for text analysis. As he believes, animals are symbolic of humans in folktales stories. They behave and talk like humans. In this regard, the translation of Kelileh and Demneh is one of the examples of animal’s stories in Persian literature in which allegorical stories are narrated from the language of animals appearing in a social link. Therefore, recognizing narrative discourse characteristics of this book will be very effective in its analyzing and understanding. Thus, this research is going to identify, study and describe types of participants and the use of different discourse devices employed to refer to the participants in eight chapters of Kelileh and Demneh stories based on levinsohn’s (2015) model as well as to answer the following questions:The major research question:Can we study and describe types of participant reference components in some stories of Kelileh and Demneh based on Levinsohn’s (2015) model?
The minor research questions:1-1- How are types of participant reference components proposed in Levinsohn’s (2015) model represented in some stories of Kelileh and Demneh?
1-2- What kind of relationship is there between the usage frequency of types of participants in some stories of Kelileh and Demneh?
1-3- What kind of relationship is there between the usage frequency of types of giving reference ways to participants in some stories of Kelileh and Demneh?
1.1. Detailed Research

The method of doing this research has been library research. In this regard, first, the related theses, articles and books were studied to describe the theoretical concepts of the research, as well as all the previous research having commonalities whit the present research either in the use of Levinsohn’s (2015) model or in the analysis of Kelileh and Demneh text were reviewed. In this research, eight out of total number of fifteen chapters of Kelileh and Demneh including “Borzoye-y-e Tabib”, “Shir va Gav”,” Bazjoste kar Demneh”, “Kabootar-e motavvagheh” Boom va Gharab”,” Moosh va Gorbeh”, “Shir va Ebne Avi” and “Ebne Malek va Ashab” were selected. Then different types of participant reference used in these chapters were identified and examined. The data analysis method is descriptive-qualitative because the purpose is to describe and compare the usage frequency of types of participants and the ways of referring to each participant. The results were analyzed by using SPSS software which is a statistical package for social sciences. In this analysis, Chi-Square test was used.

As above-mentioned, according to Levinsohn (2015), participant reference is one of the discourse components in the structure of a narrative which includes types of the participant and the ways of giving reference to the participants. As to the latter, in each language, there is a range of referential forms of participants in a story. These reference giving devices maybe noun phrases, pronouns or zero anaphora. Based on the data gathered, it was recognized that types of the participant were realized in the form of major, minor, human, and animal participants. In addition, it was specified that zero anaphora had the highest frequency in relation to the way of giving reference to participants where a personal ending refers to a participant that is the agent of the verb in narrative structure. In other words, the participant is syntactically and semantically present but without a phonetic representation. The use of zero anaphora or null subject pronouns in Persian language is one of its grammatical features which causes it to be regarded as a pro-drop language. Also, the use of pronouns and noun phrases were in the next ranges. That is to say, pronouns such as “man (I)”, “to (you)”, “u (she or he)” or noun phrases such as “Demneh” and “Shanzabe” were used to refer to participants in the story.
As a result, this study indicated that the types of participant reference components represented in the stories of Kelileh and Demneh under investigation were in agreement with those presented in Levinsohn’s (2015) model. So, the answer to the question (1-1) is positive. In addition, the analysis and description of different types of participants and also different types of giving reference ways in a number of Kelileh and Demneh stories showed that there was a significant relationship between the usage frequency of types of participants. Moreover, there was a significant relationship between the usage frequency of types of giving reference ways to participants. Therefore, due to the frequency, percentage and mean of the usage of different types of participant reference components in the stories under study, the answer to the main question is positive as well.  This, in turn, means that we can study and describe types of participant reference components in some stories of Kelileh and Demneh based on Levinsohn’s (2015) model.
Therefore, due to the theoretical importance of this research and exploring different types of participants and also the ways of giving reference to each of the participants in a number of Kelileh and Demneh stories following Levinsohn’s (2015) model, the present study can be not only a model to the scientific studies of other Kelileh and Demneh stories, but also an outline for exploration and study of narrative discourse of other related literary works. In addition, the findings of this research show that the reference system of Kelileh and Demneh discloses the three functions or tasks suggested by Dooly and Levinsohn (2001): the semantic, discourse- pragmatic and processing functions, by employing different reference devices. In other words, the use of each participant reference devises or components aims at fulfilling the functions of the language reference system. Studying and recognizing these tasks and the reference devises can lead to a better understanding of the narrative discourse structure of the stories of Kelileh and Demneh.

In this research, the participant reference components were examined in the form of types of the participants and the ways of giving reference to the participants in subject and non-subject contexts in eight chapters of Kelileh and Demneh. The data surveyed in this study designated that different types of the participants were identified in Kelileh and Demneh stories, being major and minor participants including humans and animals. Likewise, in order to refer to each of the participants various reference devices such as noun phrases, zero anaphora and pronouns were used to introduce and refer to different types of the participants involved, among which zero anaphora had the highest usage frequency, the pronouns and noun phrases were in the next ranks of the usage.

In the 10th century, with the advent of Safavid Dynasty, a fundamental reform was made in Iranian society and, consequently, in all its thought and art domains. In this era, a style with vivid difference from the previous ones was born and the Persian poetry was reformed either in terms of form or meaning. Creation of new themes limited to one verse was one of the topics that had the most importance in the poet of this style and was replaced by all poetry topics. Through investigating the sonnets of four of the most eminent poets of this style the following results were obtained regarding theme: new themes and beautiful literary language have tight and direct relationship with each other and the poets depict such colorful theme using beautiful words and expressions. Features like attempts to find new themes, difficulty in understanding the theme for the audience, making wonder and joy for the poet and audience and freshness are the most fundamental components of ne themes. In addition, such themes are found through thought and silence and the principal source of their discovery are the environmental elements around the poet.
 

The emergence of Indian style with its different paradigm moved Persian poetry moved into a different route, which was incomparable with previous eras (Ismaili and Hasanpooralashti, 2014, 44-21). The most important concern for poets in this school is creating untapped concepts within a line as well as generating delight for its readership. In fact, in the poetry of this period, the concept has the highest significance and replaces poetical subjects to the extent that in the views of some scholars, Indian style is the poetry of the concept rather than the subject (Shamsia, 1995, 298).
To create fresh concepts, poets engaged in this style recourse to anywhere and anything to achieve their objectives. Even though the poets paid special attention to these terms and meanings, in their works, there were not any coherent and clear words concerning the quiddity of these terms. Also, views about their poetry are various and even antithetical. The lack of clarity and coherence generates questions for critics, audiences, and readers of Indian style poetry. Therefore, the authors of this paper are to address what are the characteristics and nature of the poems of the poets in question and find a possible answer.

This study is text-oriented and capitalizes on a descriptive-analytical approach along with the library-documentary method. As evident in the title of this study, though perusing the sonnet divans of four Indian style poets: Saeb Tabrizi, Kalim Kashani, Orfi Shirazi, and Taleb Amoli, the current article strives to find the quiddity and essence of Indian style concepts and synonyms from the standpoints of the poets.

Undoubtedly, paying attention to concepts and inventing them is the key concern of poets in the Indian style.  Few are poetical divans whose creators to be free from finding new concepts and meanings. This attention has been to the degree that it penetrated to their poetry and has been the subject of the (poetical) discourse, and this means that “poets in this period employed many poetical and rhetorical terms in their poetry, and spoke about it. They also evaluated their poetry, whether it qualifies or not (Hasanpooralashti a, 2005, 70). Concepts and synonyms include the meaning of the alien, colorful meaning, conspicuous meaning, delicate meaning, complicated meaning, circular meaning, elevated thought, fresh thought, new discourse, etc. which were frequently applied in the divans of this era. In continuance, explanations concerning the quiddity of concept and its synonyms will be mentioned.
3.1. Features of new concepts
One cannot easily achieve new concepts and a delicate meaning.
Also, articulating this meaning is difficult, and its understanding demands attention and cogitation.
This colorful meaning generate delight for the poet and wonder and joy for his readership
Undoubtedly the principal feature of the new concept and alien meaning in the Indian style is its freshness and uniqueness. In other words, the concept is new and the meaning exotic so long as they have not been utilized in their current fashion in the past, and they are unique to the poet or the result from the metamorphosis of the subjects which formerly were used.
3.2. Techniques of Creating Concepts
The poets operating in this style have referred to some techniques for creating the new concepts, and alien meanings, prominent among them are cogitation and silence.
3.3. The Wellsprings of New Concept Discovery
Due to changes that happened in the area of poetical subjects in this era, as well as the emphasis was placed om untapped concepts and exotic meanings, it is natural that the sources of the poets had altered too.
The Indian style poet treads a different path. Since, in this period, orthodox topics are toppled, the poets did not cull their themes from books and their predecessors. Instead, they got their inspiration from their surroundings. Hence, the poet permits himself to fish for new concepts from everywhere and everything. It has been their principal characters in this period. In this regard, all constituents of plain creation, their immediate Nature, the simple life of the mass could be the source of fresh concepts for them, and this phenomenon forms through forging abstract relations and imaginative bonds with inner thoughts.

In the 10th century, with the rise of the Safavid dynasty, there was a dramatic evolution in Iranian society. Persian poetry, which has always been the most important and main media in this land, thus in turn led to the emergence of a specific style in Persian literature. This style became known as the Indian style. The poets of this style were different in their style from those ones following Khorasani style poets who imitated the nature and its elements. They were also different from the mystic poets of the Iraqi style whose vision was entirely inner and universal. The newly emerged style paid attention to both the outside world and its embedded elements, and the inner world and their mental and psychological conditions. In this regard, they touched on a combination of the inside and the outside worlds. Notably, all could occur in only one poetic verse. Therefore, paying attention to themes became the most important mental concerns of poets of this style. In few anthologies, it is possible to know that its owner is free from the idea of finding new themes and new meanings.
This attention is so tangible that its themes and synonyms are clearly related to their poetry as well. According to the poets in this style, it can be argued that the themes and synonyms are a network of connections among the words of a verse, achieved by great effort and discovery of verbal and spiritual proportions which make them difficult to understand.
Moreover, the themes and synonyms must express a speech in a virgin and deep-thinking manner and precisely must reflect all elements of existence, ordinary life and nature components and thus create happiness for the poet and his audience.

The Symbols are applied to all knowledge scopes; mythology, sociology, art and soon. Generally, the symbol is a world or an expression applied in its unreal meaning, which is parallel to image. In literature, the symbol is a verbal image to imagine abstract ideas, personal experiences and supernatural meanings that is imaginative, moving, multi meaning, ambiguous, and interpretable. Transcendental symbol is a sort of literary symbols. Transcendental symbols are types of liferary symbols as if they contain literany images along with their specific characteristics.
The idea in which there is a metaphysical world other than our world, at least belongs to the age of Plato, who called such a metaphysical world the ideal world. So, he calls our ekisting world as a shadow of the "ideal" world. Such symbols ambiguously represent the connection of shining radiation of soul with divine light. The poet provides his transcendental symbol and comes across the ideal world through the reality which is a world that human wishes to touch.
and all universal phenomena are solely the incomplete representation of such a world.
various types of such symbols are used in dehlavi's sonnets. He has used this imagination. and his thoughts through transcendental symbols for special personal and historical conditions and he tries to use symbols as near to these own personal realities and this imaginative world as possible. Actually transcendental symbols are not perceivable by enaryone. The concept of these symboly is highly related to their application area. such symbols get more concept in connection with the subject of their emergence. we are going to investigate the background of transcendental symbols in Dehlavi's sonnets in this research so that to study the connection of transcendental symbol with poet's thoughts, historical conditions and sacial canditing and we are going to clarify how transendental symbol works.
So, the following questions are answered,
A) what kind of transcondtal symbols is in Bidel's sonnets?
B) what is the relationship between personal Thought and transcendental
Symbols?
c) what is the relationship between social and historical
backgrounds and transcendental symbols?

This study is a sont of qualitative studies and tries to opent newharixons to these who are interested in literature and those liferary readers by the use of content analysis method and by
the aim of study and analysis of Transcendental symbols.

Transcendental symbols have an important factor of symbolic language which refers to something of unknown and abstract world. The reality and the metaphysical world and the mysteries searched beyond the transcendental symbols are not percievable mentaly and consciously. In trant scendental view, pure knowledge is known through insight, so the superiority of insight on knowledge is a transcendental notif Transcendentalist tends to develop his thoughts and his inner perceptions on subjective appearances of the tangible world. Eeach a phenomonon in nature represents specific aspect of supreme truth and because the aspect is also inside humanbeing, hence it causes enthusiasm to return to the world of idea Transcendental symbols have substantial communication with plato's opinions. Iranian gnasticism is also influenced by such opinions, so we can give another neme to transcendental symbols as gnostic symbols but this sublime view might have not any connection with Iranien classical sufism sometimes the transcendentalist is a gnostic who finds the trath by religion and rule of life "The tendency towards the nature is accompanied with introversion" (radfar, 1389:59). The world of divinity decends to natural and worldly phenomena and is searched in natural aspects. The main foundation of Bidel throughout his poetical work and sonnets is the thought of the unity of existence, hence, symbols like Sun" "light", and "sea" are frequently used.
"Sun" is a transcendental symbol and contains a spiritual and divine concept. Based on the priciple of opposition, those positive and glorious aspects which are opposed to negative and demeaned aspects of dusty ground can be connected to the vast sea denotations.
One of the most frequent symbols in Biddle's sonnets is the "mirror" symbol, which is "a symbol for the divine thought and reflects the manifestation, the manifestation that he has created in his own form." This manifestation, similarity and difference in the mirror is the source of Azra'ili's descent, and Claire is the end of a very high spiritual experience "(Shavalieh, 2009, vol. 1: 399)" The mirror "is truth and self-knowledge. The supernatural reflection, the clear and shining surface of the divine truth, is the mirror of the symbol of man's knowledge of himself. In Biddle's thought, the Imam is the mirror in which you see yourself, because you are his mirror, the world is the mirror of God and man is the mirror of the world. So he will understand the inside of the mirror, that is, the inside of the enlightened truth and intellect. Another common transcendental symbol in Biddle Dehlavi's sonnets is "Homa". «Homa: Homayoun. Homay, meaning auspicious and blessed. Hu-mayā and hu-mâyâ are used in the same sense in Avesta, next to humâk, the word is basically an adjective eagle. In the culture of Shahnameh, Wolff has translated Homay into adler (eagle) ”(Burkhart, 1997: 6 236) Sentence: Farr and Bliss have thought that this has increased the symbolic ability of this motif. Homa, first of all, like any other bird, instills the idea of flight in the poet's mind. The attribute of Homa's ambition is a manifestation of the supremacy of the poet's subconscious mind, which is a symbol of flight combined with transcendental concepts. Huma is a transcendent symbol and speaks of Biddle's independence and longevity.

In this article, the origin, nature and function of transcendental symbols in Biddle Dehlavi's lyric poems were examined. Due to the ambiguity created by the transcendental symbols in the poem, an attempt was made to remove as much ambiguity from Bidel Dehlavi's poem as possible by interpreting these symbols. In addition to the content analysis of transcendental symbols, the aesthetics of these symbols was also one of the objectives of this study that was considered. Also the common transcendental symbols in Biddle's sonnets, according to their frequency; Elements of nature, birds and objects were classified into three groups. The results of the research indicate that transcendental thoughts in Biddle Dehlavi's lyric poems, many images appear in a contradictory situation with each other. Transcendence in his sonnets has a carnal and mystical character and he speaks of purifying the soul and heart and removing the evils of the soul from morals and moral vices in order to reach the ascension, superior life, truth and existence of God. Feeling lonely and trapped in the prison of the perceptible world and its problems, causes him anxiety and intensifies his desire for transcendence. This causes the poet to cultivate the dream of having wings and feathers in his imagination and the light of the morning is clear to get rid of this narrow field. Wings, feathers and flight embody Biddle's imagination. The wing symbolizes spirituality, the power of imagination and spiritual ascent. The two birds of Homa and Simorgh, through their wings, find the ability to fly and purify their souls from the ugliness of the earthly world in order to open their way to the wide world. Simorgh with its spiritual and sacred aspect, when Biddle speaks of solitude and withdrawal from the ugliness of the earth, along with Homa and Shahbaz, all three are considered transcendent symbols and the story of eagerness to ascend. They do.

One of the common phenomena in the border areas of Iran and India is arms smuggling, which has played an influential role in social developments and security issues in these areas. Looking at historical sources, we can see that from about 1285 to 1305 AH, arms smuggling in these areas has increased significantly. Due to this issue, in the present study, using descriptive research method and using existing documents and historical studies in this field, the causes of this phenomenon have been investigated and the role of internal and external factors has been investigated. Accordingly, the question of the present study is what has been the trend of arms trade in the border areas of Iran and India and the reasons for its increase in this period? In this regard, we can first point out that having firearms is a serious need in the traditional system of Sistan and Baluchestan, which has been exacerbated by the outbreak of the Constitutional Revolution, World War I and the security situation in the region. With the Bolshevik Revolution in Russia, Britain sought to prevent Marxist teachings from infiltrating other countries. Accordingly, regions such as Sistan and Baluchestan were at the center of the competition in the interests of Britain and its rival countries. These developments made the issue of firearms and trade and even arms smuggling in the border areas of Iran and India become an important issue due to its geographical location.

The aim of the present study is to use the method of documentary research and by referring to the relevant documents in this field to investigate why and how the arms trade flourished in eastern Iran in the mentioned period and explore the internal factors resulting from the political, cultural, social and economic contexts in the eastern regions as well as the factors affected by foreign political events that have been influential in the arms trade process in the Sistan and Baluchestan border region and the Indian subcontinent. As mentioned, in order to study this issue, we should pay attention to the internal causes and factors involved in this matter, as well as to external causes and factors, especially the role of colonial powers such as Britain and Russia, and of course we should not forget that the combination of Domestic and foreign causes, and in particular the role that governments such as Britain, Russia, and to some extent Germany have played in fostering the arms trade in these areas, deserve to be examined. it seems that in this particular period of time, colonial and aggressor governments have played a major role in the political and social developments in different parts of the world, and in the Middle East, including Iran, given that each of these governments, its affiliated groups They had created and played a key role in arms exchanges in the border areas of Iran and India by equipping and inciting these groups to strike at rivals and secure their interests. Therefore, according to these issues, the questions for which the present study seeks to find an answer are as follows: What are the reasons for the increase in arms trade in the border areas of Iran and India from 1285 to 1305 AH and what was the role of foreign governments in this regard?

According to the subject studied in this article, the factors of arms trade in the border areas of Iran and India have been studied and the process of this type of trade in the period from 1285 to 1305 AH has been studied. It seems that the best research method in this research is documentary and historical study method. Documentary research is a research based on evidence taken from the study of documents (Majdfar, 2003: 276). It can be said that the method of documentary research is used in almost all scientific researches and especially in historical researches, considering that such researches are related to past periods and the researcher does not have direct access to the people and events of that period. There is no choice but reference to authentic documents, books and writings related to that period or historical event. Accordingly, considering that in the documentary research method, the researcher collects his research data about actors, social events and phenomena from sources and documents (Sadeghi Fasaei and Erfan Manesh, 2015: 63), in this research Also, which is a historical research and direct access to the phenomenon under study is not possible, the best research method is the method of documentary research and referring to the documents and writings that exist on this issue.

Arms trade peaked in eastern Iran at the same time as World War I. In the past, the British imported weapons to Balochistan to cause unrest. The fact was that the presence of the McMahon delegation, the smuggling of arms and ammunition to Sistan under the guise of McMahon's goods, the strengthening of the Indian military in Quetta, and the gathering of military intelligence from Sistan to occupy that state, if necessary, took place. (Ra'is Tusi, 1385: 152). But arming the tribes of these areas was not in Britain's interest. During the war, some of these tribes became active under German influence to expel the British. Some of the factors influencing the anti-British movements of some Baluch tribes were: 1. extraordinary development of arms smuggling and its huge profits. 2. The anti-British spirit that existed among a number of tribal leaders. Some tribal chiefs, including Khalil Khan Gomshadzehi, Jihand Khan Yarahmadzai, and Juma Khan Ismailzai (Shahbakhsh), were hostile to the British and fought (Dayer, 1999: 39). 3. With the entry of the Ottomans into the war as one of Germany's allied states, the Baluchis were influenced by them because of their religious affiliation with the Ottoman Caliphate. Especially since it was rumored that Wilhelm II, the German emperor, converted to Islam (Bast, 1998: 84). The goal of the Germans during the First World War in Iran was to use their small forces to provide a situation to capture more forces of their enemies in Iran and thus prevent the deployment of troops to the European front. To achieve this goal, creating unrest in Iran, Afghanistan and India was their most important plan. Under such circumstances, the Germans increased their dominance over these areas by recruiting native forces and concluding agreements with some local tribal chiefs. For example, contacts were made between the mourners (Zug Meyer) and the Baloch leaders, including Bahram Khan Bampuri (Barkazai) (ibid: 116), and the Balochistan group was formed under the leadership of the mourners. The British formed the forces known as the "Eastern Belt of Iran" in July 1915 to confront the Germans and control the eastern borders of Iran (Ebrahimi, 2016: 104). In March 1916, these forces became the British force stationed in Sistan under the command of General Kirk Patrick. Their task was to prevent the movement of German agents and to prevent the entry of weapons and ammunition into Afghanistan and India. In addition to these forces, they also created a British force based in Balochistan (ibid: 106).

In the field of internal reasons for the increase in arms trade in the period from 1285 to 1305 AH it can be pointed out that with the constitutional event and subsequent events, the use of weapons expanded in different parts of Iran. The eastern regions were more intense and had a different nature. In other areas, the presence of nomadic tribes and the inability of the government to establish security were the main factors in the spread of the use of weapons, but in the eastern regions of the country, including Sistan and Baluchestan, Khorasan and Kerman, despite the lack of nomadic tribes, the use of weapons flourished. In fact, having firearms was an essential need in the traditional system of Sistan and Baluchestan, which was compounded by domestic and foreign conditions. But the outbreak of the Constitutional Revolution, World War I, and the conditions in the region intensified the desire to acquire weapons. This led to a boom in the arms trade in Sistan and Baluchestan. Because firearms had many customers and profits inside and outside the borders of Iran (Afghanistan and India). This caused concern and reaction in Britain. As the fire of war flared up, Britain took steps to maintain its interests and dominance over India and to counter the threats of hostile states. The sensitivity of this was so great for Britain that in order to prevent arson on the Indian border, they inevitably took extensive measures, including the formation of the eastern belt of Iran, the establishment of the southern police and the establishment of a military base in Sistan and Baluchestan.

The purpose of this study is to investigate the capacity of the mystical Sunnis of the Indian subcontinent to increase the soft power of the Islamic Revolution, which is done by focusing on Pakistan and believing in the love of the Ahl al-Bayt (PBUH). Has been with 11 Iranian and Pakistani elites. Library and field studies have been used to enrich this research. The findings of this research indicate that the "love of the Ahl al-Bayt (as)" of mystical sects is of great importance. Great respect for Sadat, narration of many hadiths from the infallible Imams (PBUH), pilgrimage, appeal, supplication and intercession are among the doctrinal capacities of the discourse of the Islamic Revolution.

Ayatollah Khamenei's "look to the east" strategy, especially in the second step statement, stems from his familiarity with Eastern culture and his deep knowledge of Islamic history and civilization in the Indian subcontinent. Keywords such as “soft power” and “soft warfare” and their cultural, political and economic resources have become more important as military options for each other diminish. Joseph Nye (then Dean of the John F. Kennedy School of Public Studies and Harvard University) sees the use of potential and actual doctrinal and cultural capacities as influential, deeper, and longer lasting.
The question is, given the growth of "takfiri" movements in the West Asian region and the many religious and cultural similarities between Iran and Pakistan, can a strong link be established between Shiites and Sunnis? The main purpose of this study is to identify the opportunities for the Islamic Republic of Iran to develop the soft power of the Islamic Revolution. In this way, the prevention and treatment of devastating religious and cultural challenges will occur in the region, especially in the Indian subcontinent.

The type of research is analytical and applied and in terms of method is descriptive-comparative. In order to understand the religious similarities between Iranian Shiites and Sufi Sunnis in Pakistan, the method of collection, library and field has been used. Also, the method of elitism or in-depth interviews with 11 experts have been used. Finally, from the obtained results, solutions to increase the soft power of the Islamic Revolution have been presented.

The hallmark of Islam propagated by Iranians in the Indian subcontinent is mysticism and Sufism. Mystical Islam spread through the Persian language. There are many similar and common beliefs between Sunni and Shiite Sufis. Expressing love for the infallible Imams, especially Imam Ali (as), is a proof of this similarity. All Pakistani Sufi sects, including the four main sects, have spread to the subcontinent through the Iranians. That is, he was either the founder of the Iranian sector it spread through the Iranians. (Taheri, 1389, 29) Summary of all the teachings of sects is now known as "Barelvis".

The culture of the Indian subcontinent and Pakistan is a continuation of Islamic Iranian civilization. The atmosphere is Sufi. The mystical atmosphere is intertwined with the love of the Ahl al-Bayt (as). The discourse of "love of the Ahl al-Bayt (as)" among the Sunni sects of Pakistan and the Shiites is one of the similarities between the Muslims of the two countries. The superiority of Ali PBUH and the acceptance of his esoteric caliphate and the great respect for Sadat are other discourse similarities between the two. This ideological and cultural capacity can be used to develop the soft power of the Islamic Republic and to counter the soft war of the enemies.

Fana (annihilation) is considered as one of the fundamental doctrines in Islamic mysticism. Through spiritual journey, the mystic is released from any kind of delusive entity, achieves infinite truth, and finally annihilates in it. In Indian mysticism, the term “nirvana” is used instead of “Fana” which takes the seeker out of the realm of universe and its goal is annihilation, vanishing, and quietude. Mawlana as the lord of love and mysticism in literature and Bidel as the representative of Indian style have much in common in many mystical fields. Bidel’s poetry book is as a dictionary of mystical terms although in Indian mysticism, mystical words are a little different from those in Islamic mysticism. Nirvana in Indian religion is similar to the concept of Fana in Islamic tradition and Bidel has applied it in its Islamic concept. According to this comparative study, it seems that Bidel like Mawlana has an Islamic view to Fana, and it is even claimed that nirvana as an Indian ritual in which there is no concept of God, has not achieved a position in practical Fana in Bidel’s poetry.

Annihilation is one of the most important and fundamental ideas of Islamic mysticism and mysticism of different religions. The status of annihilation is one of the most important and complex issues in Sufism and Islamic mysticism. Islamic mystics consider the status of annihilation as the goal of the seeker's journey and say that the main goal of going through all circumstances and positions is to achieve annihilation. In Indian mysticism, instead of the word “annihilation”, “nirvana” is used, which is one of the most important principles in all philosophical schools of India, both religious and non-religious. Reaching Nirvana means the highest victory, although the loss of individuality and identity, is also hidden in it. (Stacey, 1375: 327). This study deals with intellectual and linguistic features of Bidel Dehlavi, the Persian poet and mystic in the Indian subcontinent, in explaining the qualities of a perfect human. The anthropology in Bidel’s ideology, the reason of human creation, Mohammadieh truth, human perfection in Bidel’s thought and Indian mysticism are among central subjects in this research. Using descriptive analysis and library method, this study explores the poetry and idea of Bidel from stylistic view in intellectual levels. The results showed that Bidel who was raised in India presented a comprehensive and complete definition of human and his qualities relying on his Islamic and Ibn Arabi-like ideas. Bidel’s perception of perfect human differs from that of Indian mysticism and Buddhist perspective that assume the ultimate goal of perfect human is to achieve Nirvana and an arhat state or that of Yoga perspective that aims to reach the mere state of freedom. Therefore, the intellectual feature of Bidel in explaining the qualities of perfect human, parallel with his Islamic thoughts, approaches his works and entails messages from his special ideas and intellectual style. Bidel Dehlavi and Rumi are two mystical poets, one of whom lived and flourished in an Islamic country and one was raised as a Muslim in India under the influence of Indian ideas. Let us examine the concept of annihilation in the thought of Rumi and Biddle and its relation to Indian annihilation (Nirvana), to find a clearer view of the worldview of these two thinkers and common concepts in Indian and Islamic mysticism. The main question of this research is: What is the view of Biddle and Rumi about the mystical position of annihilation? What are the commonalities and differences between Biddle's Islamic annihilation and Indian annihilation (Nirvana)?

This research has been conducted by descriptive analysis. First, the theoretical foundations of the research were mentioned based on mystical references in Iran, Islam, and India, and then the concept of Fana (annihilation of the self) was extracted by delving deep into Matnavi Ma’navi and GhazaliyatBidel as two works by Mowlana and Bidel Dehlavi. Finally, the extracted concepts were classified, compared, and analyzed using the method of content analysis.

The concept of Fana in Islamic mysticism and Nirvana (soteriological release) in Buddhist mysticism are among issues that come from mystical experiences practiced in each tradition, and the wayfarers attempt to achieve this purpose. Islamic Fana is interpreted as “dying before one dies” and it has some stages: Fana by acts or annihilation, Fana by qualities or passing away, and Fana by essence or nullification. Through these stages, the mystic releases from his act and sees God as the doer of all acts, loses his qualities and just sees the properties of Haqq so his ego breaks down and he returns to Haqq (God). However, Nirvana in Indian mysticism is the end of mystical experience and does not have the stage of Baqaa be-llah (subsistence in God). In Islamic mysticism, the way that a Salek (wayfarer) must pass has different stages, dwellings, and guidelines that lead him. One of the stages of seyr va solouk (spiritual journey) is Moraqebeh (Sufi meditation) in which a Salek releases his mind from anything other than God, and instead, replaces that with God. A Buddhist mystic by doing some acts and commitment to 8 steps including appropriate perspective, appropriate will, appropriate speech, appropriate behavior, appropriate living, appropriate attempt, appropriate thought, and appropriate thinking can achieve Nirvana. Therefore, Nirvana is a state that is achievable and is the result of the attempts of a Buddhist follower; whereas, Fana is a state that comes from God and is the result of divine attraction. In Islamic mysticism, the truth of Fana is not annihilation and passing away, but rather it is a sort of real insight. Likewise, Nirvana in Buddhism does not mean nihilism and breaking down, but rather its truth is a sort of special insight free from any formality and attachment and by which human achieves mere enlightenment, quietude, and silence. The insight denoted by Islamic mysticism is by no means analogous with obtained insight or even knowledge by presence (consciousness). It is instead a quality of perfect witnessing (Shuhud) by which a Salek can perceive the truth without any physical medium. By such an insight, the pluralities disappear in the truths of the world of unity. However, the insight in Buddhism by which human achieves Nirvana is identical with an absolute insight that is obtained directly. As for Fana, Mowlawi believes that one’s spirit, without losing the essence of its individuality, remains in God. He uses various allegories to illustrate his point, for instance, he holds that life is in death, and subsistence is in Fana. In the poems of Bidel, Fana as the ultimate destination for the attempts to the general truth and the purpose of human endeavors to spiritual perfection is displayed through lively images.

Fana is a mystical concept that exists in other religions, too. The equivalent of Fana in Buddhist mysticism is Nirvana. By studying the Ghazaliyat of Bidel as a Muslim mystic, it is perceived that, in addition to being an Indian and his familiarity with Buddhist mysticism, he has had the advantage of reliance on the expressions and ideas in Islamic mysticism by using the instructions of Islam. Contrary to what is expected, he has not used the term Nirvana, that is equal to Fana, even once in his poems. Although Nirvan or Indian Fana is the goal of a Buddhist mystic and he achieves this state by detachment from human qualities, the purpose is release from Samsara suffering and nihilism, not subsistence in God. The spiritual journey of a Buddhist wayfarer has guidelines that is not favored by Muslim mystics. Nirvana is the result of human attempts and is achievable but Islamic Fana is not merely the result of endeavors because it needs attraction, too. Mowlana has had special attention to the issue of Fana in Mathnavi and has applied this term 89 times. This subject has also received special attention in the poems of Bidel Dehlavi who has referred to this mystical concept in his Ghazaliyat 101 times. He has mostly been under the influence of the Islamic concepts, the terminology of Islamic mysticism, and some great mystics such as Mowlana. He has consciously or unconsciously preferred not to use the expressions of this tradition specially its key term, Nirvana, that is similar to Islamic Fana although he lived his life in the land of Buddhist tradition. As a Muslim poet, Bidel who has used Islamic instructions holds that the ultimate goal of spiritual and mystical journey is reaching to God. He regards that Vusul elal-Lah (reaching to God) and Baqaa bel-Lah (subsistence in God) relies on detachment from human qualities and attachment to divine qualities. Thus Fana in the poems of Bidel is identical with Islamic Fana. By an investigation of the poems of Bidel, it is concluded that the concept of Nirvana in the sense that exists in Buddhism, has no way in the poetry of Bidel. The ideology of Mowlana and Bidel relies on reaching to God and subsistence in God and they both regard Fana and Baqaa mutually interdependent. They believe that a wayfarer by breaking down his ego and unity with divine qualities can reach to real subsistence.

The cultural heritage of the ancient lands of India and China makes up an important part of Buddhist culture. Buddhism is a most important religious current in these lands, which has had a deep impact on the Indian and Chinese art. Mixing the common artistic foundations of these two civilizations with the Buddhist ideas, manifested in the cave-temples of Ajanta and Dun Huang, raises the question: What effect did the Indian and Chinese artistic foundations have on the structure and the common themes left in the painting of these caves? Developed in a descriptive-analytical way and based on library sources, this research has investigated this subject. The result although there is a similarity between the common themes in the Buddhist paintings, but Chinese artists, relying on the ancient culture and intellectual foundations of their land, have transformed Artistic methods and have added to the richness of Buddhist culture and religion.

Since it is the common experience of a large number of the continent population, Buddhism has a unique place in the history of Asian religions. One of the success keys of Buddhism is its ability to adjust to the beliefs of the people of different lands, which, in harmony with ancient cultures, has opened up new perspectives on life for them. The demonstration of this kind of religious attitude throughout these places has been complemented by the invention of numerous works of art. The land of China is one of the areas that was intensely affected by the introduction of Buddhism. The arrival of Buddhist traditions in this ancient land opened new possibilities for Chinese artistic culture. In sculpture, the Chinese adopted Buddhist iconography and adapted it to their belief system, but Indian Buddhist temples were imitated in China. The Dunhuang stone temples at Gansu are among the works inspired by the Ajanta Buddhist caves in India. The murals of these temples are among the most magnificent works of art of the Indo-Chinese civilizations, which can be considered a manifestation of Buddhist beliefs and philosophical thought prevalent in these areas. The influence of Buddhist teachings on the formation of the murals of the caves of Ajanta and Dunhuang, along with the common ideological foundations in these lands, raises the following questions:What has been the effect of the common artistic principles in the lands of India and China on the common structure and themes in the painting of Ajanta and Dunhuang caves?
What themes are most prominent in Buddhist paintings of the Ajanta and Dunhuang caves?
This study aims to help better understand some of the cultural and artistic relations of these civilizations from studying the common Buddhist paintings in the two civilizations of India and China.

The research method is descriptive-analytical; data collection has been done via library resources and documents. This study deals with Buddhist paintings of Ajanta caves in India and Dunhuang in China. Examples are scrutinized from available publications in this field, such as Art, Religion, and Politics in Medieval China (Qiang, 2004), and online sites such as Pinterest (pinterest.com). Among the collected samples, in agreement with the content and volume of the article, the image of some of them is included in the text. Gaining acquaintance about how the illustrations are done in these works has been made by referring to historical sources.

The fundamentals of Indian art can be found in the Hindu intellectual systems (Darŝana). “Yoga” is one of these treasures (Rikhtegaran, 2009: 11). Art, regarding the rituals performed in the path of its emergence and the works and results obtained from it, is considered a “devotional act.” The presence of the three main pillars of worship (Sadana), remembrance (Mantarm), and “meditation” (Dhyana), before the creation of the work of art, make it a sacred truth. The artists are ready to receive the “divine images” (Devata) by passing these steps. Based on these artistic instructions, the artist must understand the sources by which the gods are inspired, namely the Vedic chants (Mantras). In this intellectual approach, the creation of art as a devotional practice and the special characteristics of the artist is emphasized. This intellectual approach has been extensively reflected in the illustration of the cave temples of Ajanta. The subject matter of these paintings is very different and is mainly about the previous lives of the Buddha. The depiction of heaven as man's idyllic destination and the first place of the Buddha is one of the favorite subjects of Buddhist artists. Along with the portrayal of sacred spaces, Buddhist artists sought to achieve perfection through the embodiment of the supreme human essence, which they believed was manifested in the person of the Buddha. In its historical course towards China, this art spread with similar themes, but the key difference is the influence of the intellectual foundations of China in the creation of the paintings of the cave temples of Dunhuang. The intellectual foundations, practices, and way of life in traditional China are the teachings of Confucius, Laozi, and Buddha. Prevalent artistic practices in China also influenced the mainstream of thought in the land, and Buddhist art evolved on the intellectual achievements of the Confucian and Daoist religions. Indian Buddhist painting traditions helped the Chinese a lot in terms of composition techniques.

Investigating the basics of art and painting in the caves of Ajanta and Dunhuang suggests that: There are many similarities between the common Buddhist paintings in the caves of Ajanta and the paintings of the temples of Dunhuang in terms of theme and style of performance. Chinese artists borrowed their artistic themes directly from Indian Buddhist art, although some have changed. Reflection on the common artistic principles in these two lands also indicates a direct relationship between religious values and the common intellectual principles in the land of India as the origin of Buddhism and the common artistic principles in the land of China. The prominence of humanizing the mind and spiritual powers for gaining peace is one of the issues that both cultures have highlighted. In both civilizations, art is considered a kind of wisdom, and engaging in monastic practices is one of the most significant ways to understand the truth, which results in the arousal of a kind of intuition that the artist manifests in the work of art. In a way, it can be said that the Buddhist spirituality depicted in Ajanta's paintings merged with ancient Chinese wisdom in its expansion and continued with greater richness in Dunhuang paintings. In terms of content, such things as heaven and the ideal human being are the central themes of most of the paintings, and the artist's efforts have often been focused on exalting the myrtle statues to convey the teachings of the Buddha.

Sa'dī's words, such as the paper, have gone hand in hand with This earth globally, and have been spotted on the eyes of readers and enthusiasts of poetry, one of the items that the works of Sheikh Ajil are always enthusiastic about, the sub-continent of India, and from The sentence of this magnanimous Mirzahar Aghpopal is the throttling of Pikandarabadi (1214-1296), which follows Sa'di's works, and he has three works, called Four Barons, Svanbestan, in response to Sa'di Boulevard and Sa'di's Golestan Sa'di. In this paper, we compared the guarantees of Golestan Hafez and Sa'di's effect in expressing the structural property of the effect of speculation, and we examined and categorized the types of guarantees used in his work. Then, by comparing the guarantees provided by Golestan with the hypothesis of yusefy copies Khazaeli, the idolatry of Golestan Saadi, regarding the recording of a fragment of Golestan's words, the importance of looking at the manuscripts in the subcontinent in the correction of the works of Saadi was pointed out; therefore, the comparison of two books can be from the perspective of correcting Golestan and then Landsat Saadi.

Hadith, is the second base of Islamic knowledge, and has a reputation like the Qur'an. The details of these teachings, including the introduction of values and the value stream that followed the demise of the Prophet (peace and blessings be upon him), have been prominent in leading news. About Imam Ali (AS) has enjoyed the highest personality and behavior, we have most news that has come. After the fall of the Prophet (PBUH), the opposing currents, especially the Umayyah, in various ways, used the news stream, especially the news, to their advantage, in order to destroy the image of the Imam (AS). Then, Muslim scholars then sought to identify the correct news from the incorrect and identified many of these stories. However, many inaccurate news remained unknown and provided a distraction for some traders.
Abu Bakr Abdullah bin Abi-Davood Sejestani is a prominent figure in the Quranic and Hadith sciences who, during his peak of his Ahl al-Sunnate activities with his father was in important centers of tradition such as Neyshabur and Baghdad, and because of his heterogeneous behavior was subject to conflicting judgments. (Dhahabi, 1382 AH, 2: 433 Ibid, 1413 AH, 13: 227) He has gained excellence because of his family fame, knowledge and exclusive writings on the Qur'an and hadith, sometimes Hafiz, jurisprudent, saqqa and the sayer of Imam Ali (AS) and sometimes ignorant, false and noble are called. This top scholar of Hadith is quoted in the traditions of Sheikh Saduq, Sheikh Mufid, Sayyid Murtada, Sheikh Tusi and some of the later Shiite communities. The present study seeks to answer the question of the status of Ibn Abi-Davood and the manner in which he behaved in relation to the position of Imam Ali (AS). Finding the answer to these questions will help him to better understand his personality and behavior, especially his attitude towards Imam Ali (AS) as a prophet of the Prophet (peace be upon him).

The research method is descriptive-analytical and the method of collecting the contents of the library. Necessary information is extracted by referring to the Rigali, hadithy, and historical portraits of Farragin - books and paper or software versions. Ibn Abi Abi-Davood is first introduced and praised or blamed by Rejalian Farighine and then the most important allegations are analyzed and investigated. In the following we have the story of Sejestani's behavior in connection with the news of Imam Ali (AS) and that he has occasionally quoted Imam Ali (AS) with imperfections. In various parts, especially when examining his rationale, it is attempted to find out that he had thought and acted within the confines of the hadith, and was credited with it, When confronted with the heterogeneous Sunni hadith heritage and in the midst of the conflict of companions' news due to lack of belief, pride and inadequate skill sometimes include unnecessary news containing Imam Ali's (AS) speeches. And in order to dispel the perilous consequences it has had to infer and this has made him like the Prophet.

Ibn Abi-Davood was famously born in Sejestan in 230 AH and since his early childhood he has been on numerous scientific trips to various parts of the Islamic world, later, the residents of Baghdad and the Sheikhs of the hadiths settled there. Some scholars like Ibn Nadeem, Ibn Abi YAla and Khalili praised him. (Ibn Nadim, ND: 288, Dhahabi, 1413 AH, 14: 502 and Ibid, 2003 AH, 2: 433) And others, like his father, Ibrahim Esfahani, Ibn Sa'ed, and Baghavi. (Ibn Shahin, m, ND: 17, Dhahabi, 1413 AH, 13: 227 and 228, Ibid, 1407 AH, 23: 515, Ibid, 1382 AH, 2: 433 and 434 AH, or Yafi, 1417 AH, 2: 207). The most important crimes against him are falsehood, instincts, arrogance and self-loathing and association with the rulers. (Aboo Noaim 'al-Asbahani, 1934, 2: 211; Ibn Jawzi, 1412, 13: 275; Dhahabi, 1413, 13: 227-230, Ibid, 1382 AH, 2: 434 and Ibid, m, ND, 2: 769) Ibn Abi-Davood has mentioned a number of news on the occasion of Imam Ali (AS) (Ibn Mughazeli, 1426 Q: 214, Sadooq, 1404 Q, 1: 204, Tusi, 1414 Q: 604, Ibn Mughazeli, 1426: 109, 164, 180 and 214, West, m, ND, 2, 469 and Ansari, m, ND, 2: 121, 138 and 168). But on the contrary, he has questioned the validity of some of the news of his (AS) traditions, such as the hadiths of Tair and Ghadir. (Jorjani, 1409 Q, 4: 266, religious, 1413 Q, 13: 232 and Islamic, 1390 Q, 3: 294). He has distorted some news in favor of Mu'awiyah in his favor in addition to mentioning Imam's rivals. (Ibn Asaker, 1415 AH, 54: 282, Ibid, 59: 157, Ibn Jawzi, 1386 AH, 2:27, Dhahabi, m, ND, 2: 496 and Amini, 1397 AH, 10: 146) Rather, he has used humorous news about Imam Ali (AS) and has behaved in such a way that he is sometimes exiled and sometimes sentenced to death. (Abu-noaim, Isbahani, 1934, 2: 211, Ibn hebban Isbahani, 1412 q., 3: 303, Baghdadi, 1417 q: 115, jorjani, 1409 q., 4: 266 w. Religious, 1382 q., 2: 433 and 434).

Although there are different opinions about the personality of Ibn 'Abi-Davood, But his ratio of deviation from Imam Ali (AS) due to evidence such as inconsistency in narration, pride, having a close relationship with the ruling elites and the presidency makes it clearer and stronger; Therefore, his competence for reflection is contemplated.
The charges against him and the events that followed were due to his bold personality and social status.
The publication of some prominent parts of Imam Ali (AS), in spite of the prohibition of the rulers on the one hand and the concealment or eradication of it by the Prophet Mohammad, on the other hand, indicates the plurality of Imam Ali (AS).
The limited number of stories reported by Sejestani, at least partially exonerated from the charge, is evidence of his failure to perform a religious scientific duty and a reason for his deviation from Imam Ali (AS).

Mohammad Dara Shokoh is one of the wonders of India and has a unique personality in the world. What has led to the eternal life and survival of Dara Shokoh is his literary and mystical writings. One of his works, his collection of poems called The Great Elixir, consists of 216 lyric poems and 148 quatrains. In this study, by examining all the poems of his poetry court, it was found that his poems have no earthly lyricism and, above all, contain mystical and heavenly themes, in mysticism, too, the theory of the unity of existence can be seen in it. Also, about 55 selected verses from his poetry collection, the themes of which had more in common with Quranic teachings and narration, were selected and classified into the following three categories: "Beliefs (monotheism and divine attributes; prophecy)", "Worship and conduct" and "Sermons and Ethics" then brief points were presented under each title. As a result, the content of most of his poems is in line with the teachings of the Qur'an and Hadith, and the convergence of his menus with Islamic teachings is quite visible, and of course in some cases his poems are criticized.

In the literary texts of the two ancient cultures of Iran and India, many writers have turned to composing poems with moral and mystical themes, the themes of which have many commonalities and indicate a single source of water and a rich source. The study of the moral heritage of Islamic sources reveals the fact that writers, by promoting moral themes, have taken their beliefs from Islamic texts and adapted their poems to these themes. This correlation is clearly seen in the literary guarantees and allusions of their poems. Muhammad Dara Shikoh, one of the wonders of India, has a unique personality in the world and was one of the most learned princes of the Timurid period, who made a great effort to unite and approximate the concepts of Islamic and Hindu mysticism by writing and translating many books. What has led to the eternal life and survival of Dara Shikoh is his literary and mystical writings. One of his works is his collection of Persian poems called Elixir Azam, consisting of 216 lyric poems and 148 quatrains. He has done a thorough study of Persian literature and has a deep acquaintance with ancient Persian poetry. Evidence of this statement is that the poems of ancient poets such as Sanai, Nezami and Attar can be found in abundance in his poems. Khosravi, Khaghani, Saadi, Hafez, Iraqi, Roman, Abu Saeed, etc. have influenced him. His special attachment was to mystical poetry. (Dara Shikoh, 1364: 40) Since showing the commonalities of the two lands of Iran and India and their convergence in the field of mystical and spiritual issues, has a significant effect on the unity and rapprochement of religions and the formation of hearts and can lead to the promotion and application of more enlightened teachings of Islam and the essence of the content of Dara Shikoh poems is also mystical and religious content, It is necessary to make the degree of closeness and commonality of the content of Dara Shikoh poems with verses and hadiths, which are the two pillars of Islamic sources, and this research also pursues the same goal. In this article, the common points of Mohammad Dara Shikoh's poems with Quranic teachings and narration are represented and, in this regard, the prominent questions of the research are:1- What are the themes and themes of Dara Shikoh poems?
2- What is the thinking of most of Dara Shikoh's poems and what is the most comprehensive subject in his poems?
3- What is the commonality of the themes of Dara Shikoh poems with the teachings of Quran and Hadith?

For this research, first all the poems of Dara Shikoh Divan were studied and then with the approach of extracting and showing the commonalities of the meanings of his poems with the themes of Islamic sources including Quranic teachings and narration by descriptive-analytical method, all the poems of his Divan were studied. 43 verses selected from his collection of poems in a way that includes all its subjects are classified and measured in three categories: "beliefs (monotheism and divine attributes; prophecy)", "worship and conduct" and "sermons and ethics" with the Qur'an and Hadiths were placed.

Beliefs (monotheism and divine attributes; prophecy)
God is everywhere
The most important theme in Dara Shikoh's poems is related to monotheism and divine attributes. For example, he refers to the presence of God everywhere and that we are all in the presence of God as follows:Everywhere (you turn), there is the face of God in front of you, so why do you ignore the truth? (lyric13)
In several of his poems, such as the above poem, Dara Shikoh has used the technique of guaranteeing, especially guaranteeing the Qur'an, which shows his knowledge of Qur'anic verses. In the above poem, the Qur'anic phrase "the face of God" is a Qur'anic guarantee and is appropriate to the following verse:And to Allah belong the East and The West] thus the whole directions of the universe [; so, wherever you, turn your faces, there is The Presence of Allah. Verily, Allah is The Knowing Space-Expander (Al-Baqarah: 115)
The permanent living of the prophets and saints
Death is forbidden for the saints of God, because it is narrated in the hadith that they do not die. (Lyric 106)
The above poem carries the message that the saints of God do not die in fact, which has a direct hint and reference to this prophetic hadith: The divine prophets (who are the supreme saints of God) do not die, but are transferred from one house to another. (Majlisi, 1403 AH, J 6: 207)
Worship and conduct
Inability to give thanks to God
The grace that he (God) bestowed on this worthless servant of his, cannot be thanked by tongues. (lyric7)
The content of the above poem is similar to this prayer of Imam Zayn al-Abidin (AS) in the prayers of the thankful about the inability to give thanks and praise to God for the greatness of His blessings: O, Allah! My gratitude for the greatness of your blessings is small...And the abundance of your gifts made me helpless to count the praise...So your blessings are abundant (in such a way that) my tongue is incapable of counting them... (Majlisi, 1403 AH, J 91: 146)
Sermons and ethics
The condemnation of greed
All these calamities arise from greed, and the more greed you have in the world, the more your suffering will be. (Quartet 90)
In this poem, one of the moral vices, namely greed, is mentioned and it is considered as a reason for increasing hardship. In religious narrations, greed is also stated as a reason for deprivation of comfort, which results in creating hardship for the greedy person. Imam Sadegh (AS) said: Greedy is deprived of two qualities and as a result two qualities will always be with him: he is deprived of contentment and as a result he has lost comfort (he suffers), he is deprived of being satisfied and as a result, he has lost certainty. (Majlisi, 1403 AH, J 70: 161)

1- Dara Shikoh poems have various subjects and they can be considered as five parts: beliefs (monotheism and divine attributes; prophecy); Worship and conduct; Sermons and ethics; Praise people; Praise some places.
2- The study of Dara Shikoh Divan shows that most of his poems are based on Sufi thought, especially the unity of existence, and they contain the spirit of Sufism (according to Qaderi method). His poetic feelings are mostly enlightened and reach the highest level of unity, and the most pervasive subject of his poems is the issue of divine monotheism.
3- By comparing the themes of about 43 verses of Dara Shikoh poems with the Holy Quran and narrations in this article, it was concluded that the content of most of his poems is in line with the teachings of the Quran and Hadith, although some of his poems are also criticized.

Doulat Khan Molla Tarzi Gowalyari or Dehlavi (11th century) is a Persian poet and writer of the Indian subcontinent, whose most important work is the book The Ma’dan ol-Javaher. This work has not been corrected yet and is kept as a manuscript. The subject of this book is moral issues, which Molla Tarzi has expressed in the form of stories. This prose work has been written in seventeen chapters imitating Sa'di’s Golestan. In this book, after praising God and praying for the Holy Prophet are discussed moral and educational issues. In the present study, which has been done in a descriptive-analytical method using library tools.The authors seek to answer how the style of book of the Ma’dan ol-Javaher. The results of the research show that many popular thoughts and street and market words have found their way into the words of Doulat Khan. The existence of Sufi and mystical terms is a sign of Tarzi's interest in mysticism. In the field of language can be seen the use of various Arabic words, ancient compounds and expressions, and ancient grammatical structure. In the literary study of the work, the existence of various imaginary forms, including similes, metaphors, metaphors and Ironies, shows the author's ability to follow Sa'di Shirazi.

There are many Persian manuscripts in libraries and private collections around the world. Despite all the efforts made to identify and revive the written treasures of Iran-Zamin, many of these writings and letters are still unknown. Persian language in Iran and neighboring countries, especially the Indian subcontinent, has been an administrative and official language for many years and people are still interested in it. Sometimes this language was taken by Persian-speaking immigrants to other regions, which was welcomed by the rulers and the people, and new works in Persian were created in these regions.
One of the countries that has a significant part of the Persian versions is the Indian subcontinent. In ancient times, the people of India and Iran had commonalities that can be seen in their language and myths and rituals (Amoozgar, 1994: 48). Much of Ibn Battuta's travelogue is about India and the spread of the Persian language there. The Indian sultans respected the Persian language; For example, Shams al-Din sings a few Persian poems in twenty-seven verses in praise of the Shah and receives a thousand dinars for each verse (Ibn Battuta, 1997: 88(.
The peak of the prevalence of Persian language in the Indian subcontinent is related to the period of Gurkanids, especially Shah Jahan Azam (1628-1659BC). During the Safavid period, many poets and writers went to India from Iran and spread the Persian language in that country, of course, Indo-Iranian scholars were also involved in the development of the Persian language (Fallah, 2009: 92-93).
The migration of writers and poets led to the writing of many literary works in the land of India, which can be seen more in the eleventh and twelfth centuries AH, so that these two centuries are the most fertile period in terms of increasing number of writers and privileges in the style of poets. Persian poetry is known in India (Shafiee Kadkani, 2005: 30). "A writer living in India wants to express more grace and has less to say, or if he has, instead of writing his own words, he has spoken about the wall and has obtained words suitable for his grace sale" (Bahar, 2007: 253). Although Mohammad Taqi Bahar has called these writers bounty sellers, if we look closely at their poems, we find that among the Persian-speaking people living in India, there are also powerful and thematic writers and poets, one of whom is the Gowalyari style.

The method of this research is descriptive-analytical.The theoretical foundations of the research are presented based on stylistic sources and using manuscripts of the work.First, various books about the author of the work;That is to say, Doulat Khan-e Tarzi Gowalyari has been studied, then only his work, The Jewel Mine, has been stylistically analyzed in three intellectual, linguisticand literary fields.

Doulat Khan-e Tarzi Gowalyari or Dehlavi is a Persian poet and writer of the subcontinent, in the 11th century AH. He is the son of Molla Ali Ahmad Fazel (Qatei Heravi, 1979: 63). Anousheh calls him one of the people of Israel (Jews) and says that Tarzi lived during the reign of Jahangir Gurkhani (1605-1628BC), is related to Molla Ali Ahmad Fadhil Ulyasat (alias 1669 BC) and this group, all they are dervishes and guardians of character and good nature (Anousheh, 2001: 1643).
His maternal ancestor was Molla Khajeh Owais Gowalyari, an astronomer and alchemist of the period of Jalal oi-ddin Akbar Gurkhani (1556-1605BC) (Qatei Heravi, 1979: 63-66). His family was educated and literate: "He enjoys his position under Jahangir Khan. His grandfather, Molla Khajeh Owais, was an expert in astronomy and mysterious sciences” (Hadi, 1995: 593).
The author of Tazkeh Rooz Roshan writes about the art and literary talent of Tarzi: One of the works that can be considered as one of the best and most influential works in the field of educational literature is Golestan Sa'di. Herman Ateh believes that Sa'di "is more moderate in his mystical beliefs and makes mysticism exclusively subject to moral goals" (Eteh, 1978: 167) Doulat Khan-e Tarzi wrote the book Ma'dan Al-Javaher in the style of Sa'di Golestan and Henri Mase has also mentioned this issue (Mase, 1990: 341). That is, both its appearance, the story in the story and the structure of the work is similar to Golestan, and in the text we encounter sentences that are similar to Golestan prose: " One day, when Saba's camouflage had made the maidens of Bostan look like all kinds of glorious plants, and the cloud-washing washed the feet of the grass-fed luminaries, he went out to hunt in the desert and meadows.”(Tarzi, 1163, Page 18).
Doulat Khan-e Tarzi lived in the Indian subcontinent and wrote his book in that land. From reading Ma’dan ol-Javaher, we sometimes come across topics and themes that are related to the nature of the Indian region. Doulat Khan-e Tarzi has shown in the Ma’dan ol-Javaher that he has religious, moral, theological and mystical ideas. The beginning of the work is dedicated to the praise of God and the prayers of the Holy Prophet, and then comes the praise of the Prophet (PBUH) and the elders of the religion; then it refers to popular beliefs and so on.
The Jewel Mine is one of the works that has been written about moral issues. As Safa has said; Tarsi's method is such that he first brings anecdotes and categorizes each category of them under moral points (Safa, 1999: 1497). Addressing all the issues raised in this work requires separate research; But in short, we can mention themes such as truth, loyalty, solitude, religion, avoiding slander and lies, justice, contentment, trust, earning lawful sustenance, and so on. Examples of ethical themes in the Ma’dan ol-Javaher are as follows: Enthusiasm: "It is unlikely in the world of enthusiasm that one would give one's sleep to another out of greed for wealth and wealth" (Tarzi, 1163, P. 20).
Generosity: "In the time of Rajah Man, who is famous among the virtuous guilds of ethics, he was a military man whom the eternal craftsman had created for the people and wrote the figures of cream and kindness on his forehead. His nature had arisen to some extent” (ibid., P. 88).Avoiding Miserliness: "Therefore, one should not lose the skirt of generosity and miserliness and should not be surrounded by miserliness" (Ibid., P. 84).Beggar: "You loved the beggar as much as you loved the beggar" (ibid., P. 78). Treasure and snake: "This treasure is neither the trouble of a snake nor the protection of a guard" (ibid, p. 4). Water of life: "He was oblivious to this water of life, every drop of which is worth a thousand eternal lives" (ibid., P. 4).Stranger sciences: "Allameh is a demon who is skilled in the science of ghosts and other alien sciences and brings out the unrepeatable magic every time" (Ibid., P. 73).
Demon: "The demon-possessed and ill-possessed demon ruled this city" (Ibid., P. 73) Fairy: "He thought that the fairy was locked in that dark house" (Ibid., P. 95). In his book, Molla Tarzi Dehlavi also refers to mystical issues and themes, which indicates his familiarity and interest in mysticism. Some of the stories he mentions are mystical and allegorical. The author has spoken about love many times by mentioning love stories. The second chapter of the book of the Jewel Mine is about love and affection and the joining of the true beloved.

Doulat Khan-e Tarzi Gowalyari or Dehlavi is a Persian poet and writer who lived in the 11th century in the Indian subcontinent. The only effectTarzi is called Ma’dan ol-Javaher. The work of this work is in the field of educational literature. This work is written in imitation of Golestan Sa'di and the author tells anecdotes and stories in seventeen chapters. Ma’dan ol-Javaher, like other works of Persian language, has started with the praise of God and the prayers of the Prophet and the Imams. The following results were obtained from the stylistic study of this work: Tarzi pays attention to educational and moral themes, and the author, with a prose mixed with poetry, some of its moral concepts are; Enthusiasm, avoiding theft, justice, chastity, generosity, loyalty, avoiding stinginess and enthusiasm, chivalry, respect for guests, avoiding slander, thanksgiving, etc. Tarzi Gowalyari is interested in mysticism and Sufism and also mentions mystical themes in the margins of the stories.The author has used many similes in the field of imaginary forms, there are additional types of similes and Mersal similes.The author's use of metaphor is such that by reading the book's prose, images and poetic nuances are visualized in the reader's eyes. There are also allusions in this work, and considering that the Ma’dan ol-Javaher is a moral and educational work, and there are some instructive issues behind the allusions.

During the reign of Shah Tahmasb Safavid, due to his lack of attention to artists and Homayoun Shah's inclination, an opportunity was provided for some artists dissatisfied with the king to immigrate to India. Immigrant artists to India, each of whom has made a name for himself in the Iranian school of miniature, with the support of Homayoun Shah and then Akbar Shah, have been instrumental in establishing the Indo-Iranian style. This study seeks to answer the question that what effects have the Iranian immigrant painters of Tabriz II School had on the miniature of the Gurkhans of India? The purpose of this study is to investigate the influence of these Iranian artists on Indian art in the historical period of Gurkanid and its continuation in the form of a combined Indo-Iranian style in later periods. This research was carried out using descriptive-historical method. The result of the research shows that the artists of the second school of Tabriz migrated to India, provided the grounds for artistic interaction between Iran and India and created the Indo-Iranian style. In the Indo-Iranian style of miniature, the effect of using a brush, coloring and special Iranian composition is well evident.

The Mongolian style of India in painting coincides with the Safavid period in Iran, which is completely different from the style of the first Tabriz school (Mongol style in Iran). The Mongol period in India began with the reign of Babur Shah and was continued by Homayoun Shah after that. After the defeat of the Syrian lion king, Homayoun Shah took refuge in the court of the Safavid Shah Tahmaseb and the Iranians helped him to regain his lost rule. Shah Homayun invited them to India because of his great interest in art; This has had a profound effect on Indian painting. The Muslim conquest of northern India has slowed the evolution of sculpture, but revived the art of painting. Akbarshah, a moderate king, was able to integrate Hinduism with Islam; This has led traditional Indian painters to become familiar with delicate paintings and the style of Iranian painting. The painting of the Gurkanian school is very close to the painting of the Tabrizdan II school in Iran, which is inextricably linked with the same principles, but with the taste of the Gurkanian rulers. From the surviving works, it can be seen that most of the painters of this school were Iranians. These artists have been able to create an Indo-Iranian style in India and teach it to Indian artists as well. The purpose of this study is to introduce and explore how Iranian artists influence Indian art and culture in the Gokanian historical period and its continuation in the form of a combined Indo-Iranian style in later periods using descriptive-historical method and data collection. Using the resources available in libraries, authoritative academic articles and museums and observations have been made.

Considering the artistic and historical content of this research, its process was done in a descriptive-historical method and in this way in order to obtain documented and reliable data from the library method (including: benefiting from valid historical documents and sources) and field (Including: reviewing and viewing some works from museums) was used.

During the reign of the Gurkhani rulers of India, there was a close literary, social, racial and religious relationship between Iran and India (Mubarak, 2006: 14). Zahiruddin Mohammad Babar, the founder of the Gurkhani Empire of India, was the fifth descendant of Timur Gurkhani. Gurkanians, who in their ancestral identity, founded the Herat school during the reign of Shahrokh Mirza and his son Baysanghar Mirza, descendants of Amir Teymour Gurkani, due to their interest in art, the low esteem of artists, the religious strictures of Shah Tahmaseb I and The aim of restoring the glory of the Timurid era is that many artists, including painters, calligraphers, bookbinders, etc., from all over Iran, eager to regain their former status, as well as receiving exorbitant wages and abundant and royal rewards, went to Herat for the second time with Homayoun Shah. The number of Iranian artists and celebrities who left Iran for India for nearly two and a Considering these connections, the present study tries to investigate the influence of Iranian artists on painting and illustrations of manuscripts of Homayoun Shah and Akbar Shah eras and to answer the question of what effects Iranian immigrant painters of Tabriz II school had on painting. The Gurkhas left India? half centuries from the beginning of the reign of Shah Ismail I (907 AH) to the end of the reign of Shah Sultan Hossein Safavid (1135 AH) has reached seven hundred and forty. And there are five of them, nine of them in the time of Zahir al-Din Babarshah, thirty-three in the time of Nasruddin Homayoun Shah and two hundred and fifty in the golden age of Jalaluddin Akbar Shah (Mubarak, 1385: 15) and emigration These artists have made a great impact on the painting of that land, which today is considered one of the most exquisite paintings left from this historical period.

With the beginning of Homayoun Shah's rule in India, the art of painting was revived and due to the comprehensive development of Iran-India relations and the lack of attention of the kings of the Safavid court and especially the strictures of Shah Tahmaseb, forced artists to make a living. They left their homeland and, with great effort and skill, interested the king of India in themselves. At the same time, Homayoun Shah's invitation to the great Iranian artists to the Gurkhani court paved the way for the migration of artists. When the artists entered the court of Homayoun Shah; Faced with the king's welcome, Homayoun Shah granted them many positions and status. After Homayoun Shah, Akbarshah was more interested in art than his father and had a special respect for Iranian artists living in India. Because they considered themselves the heirs of Timur Gurkhani and sought to culminate their school in the time of Shahrokh Mirza and Baysanghar Mirza. His interest in Iranian artists was such that Akbar Shah himself was trained by Iranian artists Mir Seyyed Ali and Abdul Samad. Mir Seyyed Ali, nicknamed Nader al-Mulk, and Abdul Samad Shirazi, nicknamed Shirin Ghalam, were the founders of Indo-Iranian style painting and were very skilled in simulation. These two artists were responsible for performing the drawings of the book during the time of Homayoun Shah and Akbar Shah, which is an important historical event. Relying on the position of their fathers, their children were able to work in the court of Gurkhani and be respected. In the Gurkhani court, as in the Safavid court, painting and writing were done by order of the king and high-ranking courtiers. During the reign of Akbarshah, several illustrated books were written, which can be said to be among the best painting books of India after Islam. The Indo-Iranian style gradually gave way to the Mongolian-Islamic style, and this was only possible with the efforts and skills of Iranian painters and their students. The best Indo-Mongolian painters were trained or influenced by Iranian artists. In the new style of Indo-Iranian painting, the clever influence of the type of engraving, coloring and special composition of Iranian artists can be seen. After Akbar Shah, other famous artists migrated to India and created other styles. What is important is that the art of simulation, which did not flourish in Iran, due to the taste and interest in development, as well as the high taste and elegance of the Gurkha kings of India and, more importantly, the presence of skilled Iranian artists in cultural management. And the art of the court of that land, caused the development and growth of art in all fields in the Indian subcontinent.

In the field of methodology of interpretation, it is imperative to recognize the criteria and criteria used in each interpretation in order to clarify the method and resources invoked by each interpreter in the interpretation. The present paper, by describing and analyzing the content, and by reviewing the documents and the library, has been devoted to the methodology of interpreting Al-Quran's system and interpreting Al-Quran Balfarqan. Farahi is one of the most prominent people who has developed the Quranic system theory as a new way of interpreting the Qur'an. His view of the proportions and system of the Qur'an is to explain the unity and unity of the content and the contents of verses and surahs of the Quran. Farah for interpretation, according to his categorization, uses one principle and several attributes: the principle of the Qur'an itself is the best interpreter of its verses, and the consequence includes such things as prophetic hadiths and the words of the Companions, the descent of desires, the use of the words to the Arabs, The word and the root of the word and the books of the past prophets. His method in the commentary also firstly relied on the Quran itself to understand the true meaning of the verses and then the interpretation based on each of the followers. However, he does not recognize reason for reason in the sense of philosophical and logical reason in the interpretation of a position, and in general he has a literary tendency in the "interpretation of the rule of law and the interpretation of al-Qur'ān Balfrqān". In this research, Farahi's interpretation method is explored by explaining each of the above.

Addressing the Quranic verses alongside each other has a long history in interpretative studies. The fundamental concern of the Qur'anic scholars has always been to prove that the Holy Qur'an, with the gradual decline of over two decades, has been developed in the present manner which is available to us with wisdom and divine grace. The design of subjects such as "the order of the verses" in the early centuries, addressing "the fitting of verses and surahs alongside each other" in later centuries and theorizing in the area of "coherence and transplantation of Surahs of the Qur'an" in all new studies In order to prove the order of revelation, the verses of the Holy Qur'an are given. The efforts of the early scholars who began from the 4th century AH were more likely to prove the miracle of the Quran through the existing order of words and phrases. Addresses (338 AH), Bakhlayyat (M 403 AH) and Jorjani (May 471 AH) are the representatives of such a theory. In the Middle Ages of the Qur'anic scholars, in addition to paying attention to the issue of order, the proportion between the verses and even the surahs was a way of discovering the essential interests of the surah and the pleasures contained therein. Tabriz (548 AH), akhrrasy (606 AH), Bekha'i (M 885 AH), Zarkashi (M 794 AH) and Siouti (M 911 AH) are the most prominent proponents of the above theory.
In the fourteenth century, the Qur'an's commentaries traveled a new path by promoting a wave of reformism and scientificism and the slogan of returning to the Qur'an. Meanwhile, special attention to the discovery of surah and the unity and coherence of Quran surahs is a common thread between contemporary interpretations. As the design of issues such as context, axis, section, verse, and relevance of the verse is abundantly visible in these interpretations. Addressing the theory of "unity and coherence of the Qur'anic surahs" in all the contemporary interpretations of the Islamic world, it has support from the Indian subcontinent to Egypt, Syria and Iran. In this regard, perhaps the most serious theoretical work on the inner coherence of the Surahs and beyond can be seen about the unity of the entire Quran in the works of Farah.
Abdul Hamid (Hamid al-Din) Farahi (1280-1999) is a scholar of Jalil Al-Qarad Muslim, a Sunni commentator on contemporary scholarship and a student of Allamah Shabli Nomani. He is one of the most prominent authors of this century in the Indian Subcontinent in various sciences, who have published valuable and unpublished works and various Nafisi treatises in different languages, each of which is unimaginable in its own right. Among his works, "The Interpretation of the Al-Quran System and the Interpretation of Al-Qur'an Balfirqan" is a deep encyclopedia that is written about the interpretation and interpretation of the Holy Qur'an, its eloquence and rhetoric, its contents, and all that is related to the Quranic sciences.

The present study, by describing and analyzing the content and using a bibliographic and bibliographic review technique, has been applied to the methodology of interpreting Al-Quran's system and interpreting Al-Quran by Balfaraghan Abdolhamid Farahi. Through this method of research, one can find resources, expertise, particular interpretative views, and the way Farahi's argument is based.

One of the undeniable necessities of the research process is the methodology of the methodology. This knowledge seeks to identify the appropriate methods for any research based on the method of knowledge, the type of reasoning, the subject of the research, the type of view of the subject, the method of data analysis, the level of data analysis, and the quality of utilization of resources. Therefore, the knowledge of methodology can be considered as the practical logic of research in any science and the infrastructures necessary to understand that science. Methodology has different uses. What is meant in this research is methodology, which means extraction of Farahi's method and resources in the Qur'anic interpretation process; in this way, he can derive his criteria in understanding comprehension issues.
In other words, for the sake of accurate knowledge of Farah's intellectual system, the methodology of his interpretation seems necessary.
The necessity of the methodology of the interpretations is that the public does not regard his commentators as observing a particular pattern and understands the concepts and teachings of the Quran in a nonhuman way and is equally available to the audience. Therefore, the presentation of interpretative doctrines is useful in the form of a systematic model. The outcome of the recognition of the Quran's interpretative methods, the extraction of the method and resources referenced by each interpreter, the influence of religious tendencies and the specialties and personal tastes on the Quranic interpretation

So far, there has not been a comprehensive and independent research on explaining Farah's vision, his interpretive method and his intellectual positions. However, in some articles during the course of addressing the theory of coherence of the Qur'an to contemporary contemporary jurisprudents, Farahi's approach is mentioned in this regard. In the articles on "The Coherence of the Qur'an; The Approach to" Reformation "in the Interpretation" (Aghayi, 2007) and "The Coherence of the Qur'an from Theory to Practice: Comparing the Farahi's Reasoning and Hawi's Interpretative Method" (Hemo, 2009). Briefly, Farahi's view on the order and the consistency of Quran is explained. In the article "Al-Mu'alm'Abd al-Hamid al-Farahi and the Faud al-Darsat al-Quraenyah", only Farahi's personality and bibliography are reserved. (Sharqawi, 2016)
In some studies, while recounting the character and works of Farahi, they briefly describe his view of the theory of order. The articles by Alamam Abdulhamid al-Farahi and Muhajfi Tafsirah, "The Al-Quran System and the Interpretation of Al-Qur'an Balfirqan" (Sharangi, 2004) and "Arawat al-Sheikh Abdul Hamid al-Farahi, in the full range of issues in the interpretation of al-Qur'an al-kerim" (Bandari Nawi, 2016) are an example of this research. In the meantime, the only work that has been compared with a relatively comprehensive approach and from a critical point of view to explaining Farah's method is the book, "Alamam Abdul Hamid al-Farahi and Jahadeh al-Tafsir and Al-Quran." (Narrator, 1436)
Despite the efforts of the abovementioned researchers, the present paper tries to analyze and explain precisely the content of Farah's interpretation, the method of confronting him with his sources and his approach to the Qur'anic and interpretive sciences.

Until one hundred years ago, the people of the mountains of eastern Afghanistan had an Indo-Iranian culture and a livestock-based ideology. These Aryans, whose land was called Kafiristan by the Muslims, were called Nuristan after the advent of Islam. They were the last believers and practitioners of the ancient Aryan religions, who remained in this land until the last century due to geographical and social conditions. They spoke different Indo-European languages and had aspects of Indo-Aryan religions. In this research, first the history and ethnic roots of Nuristanians are discussed. Then, a general outline of the worship of different gods and their relationship with the great Indo-Iranian culture and garlic is examined by looking at Domzil's theory. So, the main question will be whether these gods can be placed in a system like the Pantheon of Demzil? What is the relationship between these beliefs and the Indo-Iranian ideological system? The importance of this research is that the culture and beliefs of these people can reflect the social and religious life of the Indo-Iranian peoples. The present research has been done by using library resources and by comparative and analytical method.

While migrating to Sind and Iran, a number of Aryans settled in the eastern province of Afghanistan (Kafiristan / Nuristan), which shares borders with Panjshir, Badakhshan, Kunar, and Pakistan. The inhabitants of this region remained steadfast on the ancient Aryan religion until one hundred years ago. The great conquerors such as Alexander the Great, Amir Timur Gurkhani and Babur the Gurkhanian Emperor of India could not dominate this region. By the end of the winter of 1895/96, however, the people of this region still retained their ancient culture, from religious languages and beliefs to their individual talents in art and architecture and their "primitive" traditions. The purpose of this study is to introduce the latest generation of Aryans and their religious system to people who study and research in this field, and then to examine the ideological and religious background of the people living in this land to determine What were the beliefs of these people as the last believers in the Aryan religion, and what were the characteristics of their religious system in comparison with the Indo-Iranian religious systems.

The research method in this research is comparative analysis according to the type of subject. Research sources obtained from the library in such a way that the required data after collection has been analyzed by reading and taking notes from the relevant books and articles according to the specified chapters.

Almost all the scholars agrees that the adequate knowledge of the ancient Aryans can be achieved by examining the various aspects of the life of the Nuristan people. Here, various gods with different motives are worshiped, among which the god Imra is considered as a distinct creator and the other three gods are considered as his agents. Various rituals are performed to please these gods, including sacrifice, dancing, and vows. Here, in front of the Creator God, there is a devil who seeks to create evil and corruption in opposition to the Almighty God. In addition to the gods mentioned and the rituals which related to them, the goddess Dizani has also been praised by the people in matters related to the women and the care of children. In the worldview of the inhabitants of this region, the universe consists of the sky, the upper world (Ardish Urdesh) which is the abode of lords, the earth, the middle world (Michdesh) and the lower world (Yurdesh Yurdesh). They believed in heaven and hell, and they thought that heaven was in the upper world and hell was in the underground. Here, all of the heaven is comparable to similar cases in the Indo-Iranian religious systems. The main question is whether the gods of these infidels and their beliefs can be presented in a plan, similar to the Pantheon system of Demzil? What does this cosmology have to do with Indo-Iranian cosmology?

The main theme of Indo-Iranian thought is dualism. This duality is seen in the transcendental world as the themes of Ahura-demon in Iran and Deva-Asura in India and in the field of ethics as virtues and vices. According to Hindu Kush infidels, Imra, the one God, the Creator, is opposed to Yush as the devil.  The lower gods, as Imra’s agents in the war against the devil, help him by creating good creatures. This duality goes back to the Indo-European biological backgrounds, which were based on "pastoral ideology". According to this ideology, the positive values of patriarchy and animal husbandry are opposed to the negative values of feminism and agriculture and have led to the belief in duality. This dualism in ritual practices has created rulings on purity and impurity among these tribes. In discussing the type of relationship of the gods with humans and their distance and closeness to them, Imra is comparable to Varuna and Moon to Mitra. In this pantheon, the gods of the infidels, Bagisht made a covenant with Imra, and the brotherhood ritual based on this covenant is celebrated during a ceremony. Regarding the names of the gods and their function, Imra (called Sanskrit Yame) and Yama the king (Persian Jam) are known to be homosexual. all three seem to have the same roots, although despite these similarities, there are significant differences. The title of Blessing God is comparable to Indra's role in the Mahabharata and Dizani As the only goddess similar to the gods of the trinity and the goddess of fertility, is very similar to the Persian Anahita. The end result is that such evidence points to the existence of an Indo-Iranian religious system in pre-Islamic Nuristan.

Benefiting from the invitation organization to spread the religion is one of the most prominent features of the Ismaili religion. The Ismailis, without any prejudice that led to the restrictions, were able to take full advantage of the positive features of all religions, sects and philosophies and to combine the result with their very clever and regular propaganda method and organization under the name of invitation organization. The fundamental question of the research is that in comparison with other factors such as the content of Ismaili teachings, what effect has the Ismaili Da'wah organization had on the establishment and continuation of the Ismaili religion in India? In this research, an attempt is made to study in a descriptive-analytical manner, the role of the Ismaili Invitation Organization and their intellectual system in spreading and spreading the Ismaili religion in the Indian subcontinent. It seems that despite the differences in religious duties and beliefs between the different sects of the Ismaili’s of India, they have components such as the pivotal role of the Imam in the philosophical system and the connection between history and Tran’s history, and this idea in propaganda methods and invitation organization has been fundamental.

The flying start point of Ismaili religion formation goes back to the dispute over the succession of Imam Ja'far Sadegh (AS) in 148 AH. The Ismailis could succeed in forming a government through their revolutionary activities and established the Fatimid Caliphate in 297 AH / 909 AD. They competed with the Abbasid Caliphate. The Ismaili invitation organization was successful in India and later became the main seat and base of the Ismaili religion. The Ismailis were divided in India, the most important of which were the Bohrah's and Khojas (modern-day Aga Khans).
The Ismaili religion is the one that includes an eclectic mix of religions, philosophies, realism, and attention to social discontent. Generally, the Ismailis were a group known as intellectuals in the Islamic world, and they sought to remove human reason from stagnation and lead them to freedom, which led to many hostilities between those who were unable to understand their beliefs. In the words of Aref Tamer: "People are hostile to things they are ignorant of" (Tamer, 164: 1991).
There exist different opinions about the quality of the spread and success of the Ismaili religion; for some, the Ismaili religion represented and revived the religions that Islam had destroyed. And now introduced into Islam in a way that would destroy Islam from within (Lewis, 1363: 107). This was one of the reasons for accusing the followers of this religion of atheism. According to Baghdadi, the Ismailis were heretical materialists who believed in the eternity of the world and the denial of the prophets and the whole law because they allow everything to grow naturally (Baghdadi, 131: 1388, and 130).
Based on some Ismaili religions, it is known as the Iranian movement against the Semites, which was not limited to the Iranians in the first place and intensified in the following centuries, among the Arabs or the Semitic lands of Iraq and Syria (Lewis, 108: 1363) It seems that the Ismaili movement was not originally heretical and had no goal to destroy Islam; In fact, there has been a progressive movement in Shiism to establish a truly divine and Islamic government (Hollister, 1373: 231).

The selection of research method is affected by the nature of the research subject. Since the present research is a historical study, the method of data collection is library and its tools are taking notes. In this way, both first-hand sources and new research were studied and filed. Because the subject of the research is to focus on a specific historical phenomenon in a specific time frame, it requires a qualitative study. Since each idea, based on its own fundamentals, produces its own method and analyzes events in its form, the present research method is a descriptive-analytical method that tries to relate concepts such as power, politics and ideology. Improve its analysis of the Ismaili Da'wah organization and its role in spreading the Ismaili religion in the Indian subcontinent.

Undoubtedly, one of the most vital factors in the success of the Ismailis in spreading their religion is the benefit of a strong and regular organization called the Invitation Organization, which dates back to the time of Muhammad ibn Ismail and his sons. The Ismaili propagated their religion through the Da'wah organization run by the Da'is, and to achieve their goals, the most important of which were to spread the Ismaili religion, gain power and sovereignty, and compete and overthrow the Abbasid Caliphate; that they tried.
On the other hand, it is not possible to know this organization except through knowing the ideological foundations of the Ismailis. Although these beliefs, especially in the field of Imamate and guardianship, are in line with the Twelver Shiites, on the other hand, their beliefs are accompanied and justified by philosophical organizations and poetic interpretations, and they tried to base their religious thought on the standards of logic and Theory and rational philosophy should be adapted to a specific species (Fadaei, 1392 440).
The area of India was one of the lands where the Ismailis were so successful that it later became the base and sanctuary of the Ismaili invitation organization. The Ismailis in India are divided into two main groups, the Bahr and the Khoja. The Transcendental-Tayyabi Ismailis of India, known for their interests, followed the Ismaili main invitation organization. In fact, the interests that followed the Fatimid caliphate and the Soleihites more or less followed the original Ismaili organization. The Khoja community also followed the main Ismaili and Nizari hierarchies and beliefs (cf. Fadaei Khorasani, 1362-35: 35). The difference is that the Khojas paid special attention to the religious beliefs of the communities that were to convert to Nizari religion and used Indian myths to explain some aspects of their teachings, especially the belief in the Imamate in the context of Hinduism. They made.

The Ismaili religion is, in fact, a religion that was able to achieve many successes and spread in different lands through a special belief and organizational organization called the Invitation Organization. In fact, it should be said that the special features of this propaganda movement, the hard and tireless and secret efforts of the claimants, revolutionary activities and also, most importantly, having a very accurate and regular invitation organization are among the main factors in this success. The ideological organization, which due to its eclectic and progressive nature and far from prejudice, gave more freedom to its followers, and on the other hand, the organization of a very regular and precise invitation that gave a special order to their activities is one of the main factors in the development of this religion. Doubt the Ismaili religion could not have survived for centuries without this advanced organization. The Ismaili da'wah organization had a two-way relationship with political and religious power, and one of its main goals is to legitimize the Ismaili Imam, which has become the central focus of their political thought. In a way that throughout Ismaili history is somehow full of this basic principle.
Accordingly, the Ismaili Da'wah Organization of India has some thematic features and a method that seeks to present a kind of sacred history in which the Ismaili Imam is at the center and the Da'wah Organization around him. It has created a method among the Ismailis of India that there is not much variety in the forms and methods of their presentation and the methods are aimed at proving the legitimacy of the Ismaili Imam.
Theoretically, the Ismailis consider Taqiyyah permissible and obligatory in certain circumstances, and on the other hand, they consider it conditional on the fulfillment of conditions and circumstances that did not occur so easily and its recognition depends on individuals. As we see, for example, they propagated a special form of the Nizari Ismaili religion in the time of Shah Tahir under the name of Twelver Shi'ism, but the Ismailis still followed their Ismaili Imam (Shah Tahir) and expressed their main religion in the envelope of his Twelver thought. The current was very influential in the relations between the Muslim rulers of India and the Safavid Shiites. The Ismailis of India have been able to continue their ideological and political life in the Indian subcontinent with these special methods and organizations.