جستارنامه فرهنگ و هنر اسلامی
سال دوم شماره 1 (پیاپی 6، تابستان 1402)

The present research is titled as a look at the basics of playwriting, which was written in line with specific goals in the Islamic society, under the title of raising the national identity of children of Islamic Iran. Considering the level of students' interest in performing arts and the impact of this unique art in identifying and strengthening the national religious identity of Islamic Iran, we decided to conduct a research on the importance and place of this issue in education with the aim of creating or strengthening morale And the profession of chivalry and chivalry, etc. will take place. Since children show positive reactions under the influence of artistic activities, so the authors of this study were motivated to establish a relationship between themselves and the child and transform the stories that exist in school libraries in the form of Quranic stories with The pre-determined instructions encourage them to write a very short play. In every school, there will be a number of artists who don't need to search the internet to present their textbooks and can perform them from the texts written by themselves, and in the end, there will be a special pleasure, passion and enthusiasm in the school environment and under The supervision of school parents and their teachers to study and perform their artistic activities. In this regard, the child is taught to write plays in the Islamic society, using religious and religious books, as well as consulting with peers and peers, that can be performed, and even up to different stages, including cultural and artistic competitions, as well as levels rise higher In the education system, all efforts are made for children and with children, therefore, in order to achieve long-term and lofty goals such as Islamic Iranian identity and strengthening and creating more creativity, and considering the dynamic and new generation, new participatory and attractive methods such as We should use the art of drama and dramatic literature and the explanation and allocation of ancient Persian literature stories in textbooks to stay healthy and away from any distortion of Islamic Iranian identities.

Myths are part of the cultural values of every society, and myths and rituals should be judged as cultural values. In primitive societies, myth was considered as the actor of absolute truth because it was believed that myth is a sacred historical narrator. For a long time, indigenous art has been a suitable platform for the symbolic emergence of myth, and the interweaving of art and myth shows its importance, after understanding and understanding different myths, researchers have come to the fact that mythological concepts have their place. have consolidated in the pillars, foundations and principles of artistic functions. In the mythological thought of Eastern art, all signs have a magical power that mankind has always tried to achieve through the combination or repetition of these signs, which is rooted in a firm belief in them. Among the native arts of Iran, the topic of Iranian carpets can be called one of the prominent fields for the emergence and association of mythological motifs. The upcoming research tries to review and analyze the mutual interaction of the artists of Iran and the Orient with an attitude on the evolution of myth-oriented motifs in Iranian carpets, especially during the Ilkhanid and Timurid eras. Based on this, with the semiotic analysis of the remaining images of the carpets related to these dynasties, mythological motifs originating from Chinese and Iranian religious beliefs are investigated. In some cases, due to the lack of carpet works left from that era, visual art works related to that time are used. Combining the influence of Islamic beliefs in Iranian carpet art and the political influence caused by the Mongol invasion is the main goal of the research in the interpretation of the symbols of Iranian carpet myths. Due to the views of their founders, who were influenced by the views of the Mongols and Muslim thoughts, the mentioned periods were a combination of different value systems and also included significant political and religious changes. The evolution of the artistic style in the Timurid period, whose traces can be seen even in the Safavid period, led to the flourishing of carpet art. Studies show that the authenticity of Iranian mythological motifs inspired by Sassanid and Islamic patterns has always been preferred over the motifs influenced by the art of the East.

The role of the concepts of illumination wisdom in the religious buildings of the Safavid era architecture can be examined. The importance of the element of light in the spaces of the mosques of this era, along with the symbolic motifs and pictures emphasizing the place of color and light, can be considered as one of the original signs influenced by Sheikh's ruling thoughts. as in the works left from the era of Islamic architecture in Iran, the role of light and its manifestation in worship spaces has not been reflected and visible to this extent. therefore, in this article, by examining the theoretical foundations of illumination wisdom and the place of light in it, in addition to addressing the physical concepts of architecture in the Abbasi Grand mosque of Isfahan, the extent of the influence of illumination wisdom in the creation of devotional architectural spaces in the Safavid period has been analyzed. the research method was descriptive, analytical and case study by referring to documents and library sources. the results of the research show that the correspondence between the theoretical foundations of Suhrawardi’s thought in the wisdom of light and the physical geometrical elements of the Abbasi Gran mosque in Isfahan is remarkable. it is as if the architects and artists of the religious buildings of this era have defined part of the design concepts based on the basic concepts of illumination wisdom.

As the covering of one of the most important spaces in Iranian mosques, the dome has an important place in the semantic system of the mosque. Researchers have assigned general meanings such as unity, sky, heaven or throne to the dome in Islamic architecture. Sheikh Lotfollah Mosque, which is one of the historical mosques of Isfahan, is located on the eastern side of Naqsh Jahan square. It has a dome that is considered one of the most beautiful and magnificent domes in the world and displays a corner of the genius of Safavid architects. The Muslim artist has made formal dimensions a medium for a spiritual leap to the world of truth and meaning. Islamic architecture, especially mosques, is born from the artist's inner inspiration, which originates from the wisdom and spirituality governing human teachings and monotheistic perspective, which provides various forms and decorations to show the concept of unity. Considering that the dome is a traditional form and since many structural and decorative elements in traditional art, such as the dome, contain symbolic concepts and expressions, the question arises, what is the symbolic meaning of the dome? In this regard, this research tries to reveal its meaning by studying the dome and especially the dome of Sheikh Lotfollah Mosque with a symbolic approach and examining the concepts of motifs and components of the dome of this mosque. In this article, the subject has been analyzed by using the descriptive-analytical research method and using library tools. The results of this research show that among the meanings and connotations obtained for the dome, the following points can be mentioned: the sky, the divine throne, the house of God, unity, perfection, eternity, completeness, the course of man in the soul, movement. From the earth to the sky and from the body to the soul, unity in multiplicity and the beginning, etc., how these meanings are related to the dome is explained in this article.

The mosque, as a symbol of Islamic architecture, plays an important role in reflecting and manifesting the essence of God Almighty. In today's age, with the advent of new technology, we are witnessing the construction of mosques that have a different structure from the mosques of the past, including Tehran's Theater Mosque. Considering that the mosque is considered one of the main foundations of Islamic art and architecture in the city and is also one of the important and influential elements in the identity and culture of Islamic cities; Therefore, placing this mosque next to traditional mosques in today's urban context raises the question in the minds of the audience that whether this mosque was designed and implemented as a religious building based on the characteristics of Islamic art? Can this mosque with its new form be the basis for human growth and excellence, which is the main purpose of worship? The purpose of this article is to analyze and compare the architecture of the theater mosque in Tehran with the indicators of Islamic art. For this purpose, a case study of Tehran's theater mosque, which has an innovative structure, has been investigated. To answer the questions, first the theoretical foundations of Islamic art are presented and its indicators are extracted, then the characteristics of Tehran's Theater Mosque are introduced as an example of modern mosques, and based on that, the architecture of Neatar Mosque in Tehran is analyzed. The research method is based on logical reasoning and content analysis using documentary-library studies. The results indicate that some transformations due to the development of style and sophistication in architecture are necessary, but a specific boundary should be considered for it so that shape changes do not change the lofty human concepts and the architecture of the mosque, while being an innovation, still reflects the teachings and indicators. be Islamic. In the Theater Mosque of Tehran, the effort to innovate and harmonize with the environment has caused the Islamic meaning and identity to fade and the building to lose its legibility, which is essential for the mosque. The discussions resulting from this research can lead to the compilation and improvement of the architectural design of mosques in the contemporary era and in accordance with Iranian Islamic identity and culture. The indicators of Islamic art can be the best choice for mosques in order to improve the design quality of spaces and spiritualize these places.

Abstract Light has always been a symbol of theology in Iranian culture and therefore has a fundamental position in Islamic art. Islamic art basically uses the element of light as an allegory of the manifestation of absolute existence. Light is a manifestation of life and immortality and has been of special importance in many cultures, as a divine thing. In Islam, there are many verses, narrations and hadiths about light, which show the emphasis and attention of Islam on light. In the dictionary of the Quran, light is defined as follows: Light is what causes us to see things, its reflection or light rays from them to our eyes. Therefore, the visibility of objects depends on the existence of light, but in the phrase "Allah is the light of the heavens and the earth" it is meant that God Almighty is the light that even the existence of objects depends on his existence. In different periods and among civilizations, light has been used as a tool to express and emphasize the desired concepts and has played an important role in Islamic arts. Being aware of the role of light, artists have always taken advantage of it to give meaning to their works. One of the arts in which light is shown in a beautiful way is the art of glass and, accordingly, the chandeliers, which was used as one of the most widely used glass objects in mosques to provide lighting. Islamic architecture in Iran has a special emphasis on light and it is considered as the manifestation and symbol of existence. This architecture always reflects the holy place, life and the presence of light and affects the human soul. In Iranian architecture, the metaphor of light creates metaphysical meanings, and that is the constant presence of Yazdan. Light is always a virtue from heaven, truth and knowledge, even if it is sometimes hidden in the shadows of darkness. In Iranian architecture, light is not used uniformly and the use of this element has been very diverse and variable. Aqueducts and wooden windows decorated with colored glass with geometric composition are different methods of giving light, and it is this constant change and variety of color and light shade that conveys adequate and appropriate visual messages to the human eye can see. Paying attention to the role of light in art and architecture in the Islamic period is such that some people consider light to be the most important factor determining the identity of the work. For example, Bolkhari believes: "Light determines the intrinsic identity of the work of art. That is, it not only makes the work a symbol of the luminous manifestation of existence, but also gives it a glory that directly depicts "Allah is the light of the heavens and the earth". In mosques, to create a spiritual space, light is used as something beyond matter, and in order to direct it as best as possible to the interior spaces, various methods and techniques are presented, which is made possible by the design of light passages. In connection with the role of light in spiritual spaces, Titus Burckhardt said: "You cannot find a more complete symbol than light for spiritual unity. For this reason, Muslim artists are looking for materials that can make the light flutter in a way. The mosque is considered one of the most important elements of Islamic architecture and Islamic religion, and the Muslims of early Islam used it not only as a place of worship, but also as the most important center for gathering and solving community issues. Over time, the mosque became a place for the manifestation of the content and spirit of Islam, because artists could decorate it with arts such as calligraphy, tiling, and the use of the element of light. On the other hand, the Holy Quran is a source of inspiration for artists, and Quranic verses are the best moral and Islamic teachings that can be used in the mosque to remind people. Therefore, Quranic verses and decorations such as plant and geometric motifs were mixed together and the most beautiful and thought-provoking works of art were found in the mosque with the combination of light and color. Among the important furniture of mosques where light is manifested is chandelier, especially the luxurious type of it was placed next to the altar. By studying the position of light in Islamic art, this research tries to answer the question, what is the meaning of light in Islamic art and how is it shown in glass lanterns? By studying the concept of light in Islamic philosophy and on the other hand by studying different types of chandeliers, their structural form and how to use them, the result indicates that unlike other lighting devices which are used only as a tool to provide light, the chandeliers is not only It is a means of giving light to the surrounding environment, and at the same time, it also carries a valuable spiritual concept, thought and philosophy, which represents the highest gifts, that is, divine light. Also, the use of the role of this lamp in other Islamic arts such as painting, plastering, or literary poems can also confirm the spiritual use of these vessels.

In the country of Iran, architecture had a certain trend during different times, which often had a logical relationship with the periods before and after it, but now due to the increase in social interactions between different nations, desire for modernity increased. Important changes in Iranian architecture started from the beginning of Pahlavi rule. Imitation of European and Russian architecture became widespread during Reza Khan's era. In order to get out of the chaos, one of the most important solutions is to re-recognize Iran's architectural identity. In this research, an attempt is made to examine the example of Iran's government buildings in the pre-Islamic period and also the beginning of the transformation from the Qajar and Pahlavi eras, that type of Iranian Islamic archetype that was used in the facade of government buildings, for the design of administrative buildings. be extracted in the capital. This research is qualitative and based on analytical-descriptive research method and case study. In this research, samples of existing government buildings were observed and investigated in order to explain the characteristics of the architectural genome of the Islamic period and their impact on social and political concepts. From the results obtained after analyzing the samples: the facades of the examined buildings in the components are based on the rule of mathematical and geometric proportions and the numbers that have been used the most, such as one-to-one ratios, 1.2, 1.6, 2.5 and

Martyr Seyed Morteza Avini and the late Mohammad Mohammadpour, two critics and theoreticians of Iranian cinema, have different views on cinema and religious cinema. From the point of view of an Iranian thinker, filmmaker and writer, they have tried to redefine the nature of cinema and the concept of religious cinema and its relationship with religion. There are still theories in Iranian cinema by critics and cinematographers, but there are different theories in religious cinema and the development of their views on The theory of religious cinema still has various problems and effective theories have not yet been developed in this field. Therefore, it is necessary that seminary and university researchers and people of art and media research and analyze religious cinema in their studies. In this research, the aim is to investigate the way religious and pseudo-religious attitudes and components and elements interact, with the aim of finding the main differences and similarities in the attitude of Seyed Morteza Avini and Mohammad Maddpour towards religious cinema and critically analyzing the views of these two theoreticians. For this purpose, the relationship between cinema and religion, common opinions and the possibility of realizing religious cinema from the point of view of Martyr Syed Morteza Avini and the late Mohammad Mohammad Pour are examined. . The target society of the research is religious cinema studies and the works and writings of these two theoreticians in Persian language. Paying attention to the theories of Maddpour through a judicial and philosophical view and also an effort to expand and deepen the theories of Martyr Morteza Avini has occurred. The research method is as follows: first, the written works of religious cinema theorists have been fully analyzed. Then, the matching factors have been extracted from the works and the opinions of two spectrums of theorists have been expressed about it. Two adaptation factors, "the relationship between cinema and religion" and "the relationship between form and content", have been in religious cinema. Then, according to the analysis of the theories regarding these two factors, the views proposed by these two theorists are criticized and the strengths and weaknesses of the theories are examined.

The problem of the Unity-of-Existence(Monism), as one of the foundations of theoretical Mysticism, has been in the position of one of the most controversial mystical-intellectual issues in history. And Iranian-Islamic art can be interpreted and considered in terms of this issue. The theory of Monism, whether wanted or not has been the theme of works of various arts throughout the ages. This concept is sometimes expressed in a direct form and sometimes in a metaphorical form. It has shown itself in a symbolic way in architectural design and decorative motifs, and sometimes in the form and motifs of the Shamseh and Toranj of the carpet, and sometimes it is a mole in poetry, and sometimes it is a white light among the lights, sometimes "one" in numbers, and sometimes it is a dot in Among the forms, each of which has been an expression of Unity. The following article is a studying on the issue of "Monism" in mysticism and the emergence of this concept in Iranian-Islamic art, especially in carpets. And in a way, the line and connection between the Monism of theoretical mysticism and artistic iconography will be considered. Therefore, after a semi-examination of the concept of the problem of "Monism", its manifestation in Iranian-Islamic arts will be analyzed, and in this area, Iranian carpets will be discussed more carefully.

Different methods regarding Islamic art and architecture focus on some specific components to study the artwork and data remaining from the past, and thus, their results are divergent and sometimes contradictory due to their diverse approaches and theoretical basis. Traditionalism, historicism, phenomenology, and hermeneutics are among these approaches. This study aims to identify the discoursal relation between architectural collections of the Ilkhanid era, focusing on the Dome and Citadel of Soltanieh and the main pillars of power. Historicism and sociology of art were used as our methodological approaches. The research method was analytical-descriptive, and the research was a qualitative and historical study. The data were collected through library research and field studies. The results indicated a linkage between the main pillars of power (political, economic, and religious) in the major religious and royal buildings of the Ilkhanid era. Organizing structures such as congregational mosques and Khanqah, government Divan, bazaars, and commercial roads in an architectural collection reflects the empowering and legitimizing pillars in the architecture and urban development of the late Ilkhanid era.

In the second half of the 20th century, in the field of structuralism, theorists such as Joseph Campbell and subsequently Christopher Vogler propose a structural model for the journey of mythological heroes, based on which the hero begins a journey in order to achieve individuality, which consists of three main stages of departure, Honor and return is formed. The hero of the story is drawn to another land by the call and begins his journey. He achieved what he wanted in the course of his enthusiastic and hard-working journey, and at the end he returned to his previous position while he had reached a kind of knowledge and awareness, and while he also carried the elixir of life, he gave grace to his companions. The purpose of this article is to examine and adapt the characters of the story "Day of the Event" written by Bahram Bayzaei based on the character archetypes of Christopher Vogler's journey; And It tries to make a clear analysis of the structure and characters of the fictional film of the day of the event. The research method is analytical-descriptive; And the result of the research shows that these personality archetypes of Vogler's model can be adapted to the characters of the story in the story "Day of the Event".

With the formation of the Safavid dynasty and the government's attention to thinkers, writers and artists, the philosophical school of Isfahan emerged. This led to the beginning of a new chapter of civilization in Isfahan during the Safavid era and its appearance in architecture and urban planning. This caused great architectural works to be created in this era. The architectural style of Isfahan in the Safavid era became one of the main characteristics and advantages of this historical period compared to the previous and subsequent periods. The city of Isfahan also had important and beautiful architectural works before the Safavid era, but it seems that the Isfahan school had such an impact on the architecture of this city that it created buildings that are still among the best architecture in Iran and the world. The works that completely followed the logic and philosophy of Isfahan school. The role of Sheikh Bahai as one of the elders and theoreticians of the Isfahan school in this period is particularly important in the architecture of this era due to his knowledge and proximity to his rule and acceptance among the common people. However, he has been magnified and his status as an architect has been seriously questioned. Considering the importance of the subject, we first discussed the identity and history of the Safavid era and analyzed the Safavid architecture from the perspective of experts. Then, Isfahan School was studied and researched as the theoretical infrastructure of Isfahan's architectural style, and finally, we explored the role of geometry and mathematics, and especially Sheikh Baha'i in Isfahan's style. The result obtained from this research was that the interaction and impact of philosophy and mathematics with architecture has led to the creation of magnificent and valuable works of architecture in the Safavid period. This analytical-descriptive research was done by library method.

Suhravardi has based his philosophy on the global basis of light, that in a hierarchical world, the Lord as the head of the chain of this world has the position of light and light, and other lights owe their radiation to light. Suhrawardi considers Amraziba as a light that spreads its truth in a descending arc through the radiation of light in the world. From his point of view, the work of art is a product of knowledge, which is the result of the artist's intuition of the truth in the same hierarchical world, and the artist is the one who uses his aesthetic-cognitive explanations to set foot on the path and in a descending arc to the essence and truth of the beautiful. get closer This research, with a descriptive-analytical method in a library format, seeks to answer the question of how ta'ziyeh as an Iranian-Islamic art crystallizes Sohrvardi's views as a knowledge product. For this purpose, the description of beauty and aesthetics in Suhrvardi's philosophy will be discussed first, and then we will examine Sohrvardi's aesthetic components in Ta'ziyeh.

The conversation about the architecture of the Azeri Safavid dynasty, which ruled the country for nearly 236 years, will be extensive because the country's capital was moved several times. Of course, this was an unintended contribution to the development and expansion of architecture and urban planning. The architecture of the Safavid era progressed only when there was peace. To talk about the brilliance of Safavid architecture, a brief introduction about the Safavid dynasty and the events of that time is needed. First of all, Safavid architecture continued the style and method of Timurid era architecture and continued for many years. During the time of Shah Ismail I, who was involved in the war with the Ottoman Empire and the defeat occurred in Chaldaran, Shah Ismail did not have the opportunity to do anything in the field of architecture and urban planning. On the other hand, by surpassing the country of Portugal, which had a strong navy overseas, from "Goa" in India, they watched the fate of Shah Ismail and the Ottoman war with the Safavids with open eyes and ears. They and other colonial countries of Europe have always been greedy for the tributary of Pars. The admiral Alfonso de Albuquerque attacked the Lark, Qeshm and Hormuz aqueducts in the Pars tributary. It was because of that, because Iran was at war with the Ottomans on the one hand, and on the other hand, it did not have much naval power in the south, the Portuguese took advantage of the opportunity and defeated the forces of Abu Muzafar Saif al-Din Aba Nasr, the local ruler, in the Shahab waters of Pars. When Shah Ismail was young, they captured Hormuz in a bloody battle. The Portuguese were able to anchor and eat artichokes for 115 years by building great forts that were a mix of ancient Iranian and European forts.

Music and its application in the world According to different religions and cultures, it has different functions and dimensions, one of which is music therapy, which has been widely discussed as music therapy in the world. This research is based on written sources and documents that describe and analyze the quality of music therapy in the two nations and how to use music as a therapist in the treatment of a mental illness and its statistical population is derived from the native ritual in Hormozgan province and Golestan province. Music as an abstract art and having its audible character, in two different ethnic groups with different religions and cultures, and with local instruments specific to each region has been able to have the largest share compared to other tools in the treatment of a mental illness in two rituals, and It has had a great impact on other arts in the field of treatment as well as as a folk art for a long time, and to be fruitful in Iran and its regions. Our country, due to having different ethnic groups and different rituals, music and its dimensions in each ritual has taken a special shape, which in this study expressed the differences and similarities of music therapy between the two peoples of Hormozgan (Zaar ritual ) and Turkmen Sahra (Pourkhani ritual) has been studied and the use of music and its instruments in ceremonies and reading has been studied and the function of music as an important element of these rituals for many years has been able to cause the permanence and solidarity of the society of these two rituals.

In Iranian architecture, decorations have always played an important role, and due to the prohibition of painting in the Islamic religion, conventional and abstract motifs were created to decorate mosques. The existential importance of the mihrab and its religious necessity caused Muslim artists to pay attention to it before other parts of the mosque and to decorate it with plant and geometric motifs and Quranic inscriptions with various methods, including plastering, with the utmost precision and elegance. Borde, which is considered a turning point in the growth and development and the peak of the art of plastering and decorating the altar between the Seljuk and Ilkhanid periods. In the Seljuk period, this art has developed its way, and the features of this period include carving, embossing, and deep cuts, along with the extensive use of Kufi script, and the combination with all kinds of geometrical and plant motifs and their compactness. This art and the variety of motifs in this covenant caused that in the Ilkhanid period, wide altars with all kinds of rich and intricate motifs and all kinds of geometrical knots and salamis with prominent, braheshte, zabre, motabag and majof methods that were previously in the period It was invented by the Seljuks, and it was performed with full skill and turned this art into the main art of the Ilkhanid period and brought it to the desired level of perfection. According to the research done, in this article, while examining the decorative elements in the stucco altars of the Seljuq and Ilkhanid periods, the decorative elements of the two plastered altars of the Shah Abul Qasim Mosque in Yazd, in the Seljuq period, and the Jame Abarkoh Mosque in the Ilkhanid period, are examined and compared. .

The art of painting in Iran has been of interest to artists and art lovers since the past and has had its own characteristics in different eras, and many artists have studied in the field of painting to serve this unique art. The Timurid period is considered one of the most brilliant periods of Islamic art. In this period, the art of painting has taken its path of evolution and marked a glorious era in the art of painting. The symbolic features in the paintings of the Islamic period reflect the manifestation of the artistic spirit and style of Iranian schools, and symbolism can be considered a tool for visual expression of Iranian painting works. The present study deals with the reading of selected paintings from the Timurid period based on symbology and based on the classification of form, composition, geometric symbols, mythological themes and integrated elements in these paintings. The issue raised in this research is how the painters of the Timurid period used visual elements in reflecting their thoughts. This research is important because the Iranian artist creates magnificent works in a symbolic space and provides a meaningful and meaningful connection in the setting space of these works. The method of this research is descriptive-analytical; And therefore, it is trying to deal with the symbolic meaning of the paintings of the Timurid period and reveal the secrets of these paintings in the context of Iranian wisdom. results show; These paintings are based on the beliefs and mystical thoughts of the Timurid period, which represent Iranian and mythological identity.

This study and examination in the films shows the shape and model of women's clothing in different parts of the world with the weather,Culture, customs, and many variables are different, so we see the same model during different periods What is special is that we are not even in the same land, but we are diverse and different, and as the saying goes today, there is a style of clothing in every era It became fashionable that the most decisive and important elements in the clothing of women of that society are those with the background effects Like the white revolution and the unveiling of the hijab in Iran, the political and socio-economic conditions before and after the revolution Islamic Iran is the driving force of its influence on clothes and clothing. Conducting library studies of this research and study shows that Iranian cinema is one of the most important It is considered a powerful cultural and artistic tool in the multicultural world today by reviewing the contextual factors Influenced by the trend of fashion and westernization, it has been able to cast a shadow on Iran's fashion in all directions. to compare women's clothes in movies before and after the Islamic Revolution of Iran. From this research