نشریه مطالعات شبه قاره
سال پانزدهم شماره 45 (پاییز و زمستان 1402)

This article is based on Mithra/Mitra onomastics. The purpose is a qualitative diachronic survey about changes in Mitra and Mehr words in Phonological, etymological, and semantic fields. The domain of research was Old Iranian languages along with Sanskrit; then Middle Iranian languages to New Persian. The analysis showed that Mitra is considered a male deity by grammatical and biological gender in Ṛigveda, Avesta, and other ancient texts. Accordingly, the deixis for Iranian Mitra is “god” and not “goddess’’. Due to phonetic evolution, Mitra became Mehr in the Middle Iranian languages period. Due to the broadening of the meaning, this word accepted a new meaning, “sun”, plus previous meanings (friendship, promise, and treaty). Mehr shows a vast variety in the structure of Middle and New Persian compound personal names. This study showed that methods of compound personal name formation in Hindi and New Persian are similar. Religion, as a non-linguistic element was observed in Mitra onomastics: In contemporary Iran and the Muslim community (Urdu speakers) of India, Mitra is a female name; but in the Hindu community it is unisex.

Rumi and Gandhi, two great world reformers coming from different race and culture, present noticeable similarities mostly justified by the unity of humanity, mutual intellectual interconnection between Iran and India, exchange of mysticism between them, and the increasing prevalence of Persian language in Indian subcontinent. The present study aims at comparing the two figures (Rumi and Gandhi) in terms of “nonviolence theory” based on their works and thoughts. As indicated by the results of the present study conducted based on the French school of adaptive literature and through adaptive-descriptive content analysis, “nonviolence”, as Gandhi’s most important thesis, is also considered as the cornerstone of Rumi’s thoughts and doctrine. In addition to several samples from Masnavi evidently supporting nonviolence, most of Rumi’s thoughts and works are implicitly connected to Ghandhi’s “nonviolence” theory. In other words, All Rumi’s basic beliefs including forgiveness, altruism, modesty, anonymity [avoiding conspicuity], and globalization try to direct human toward spiritual development and excellence. This direction ultimately results in spiritually self-developed individuals seeking peace and friendship for the whole world. Most importantly, the concept of “love”, the most opposite of violence, is evident in Rumi’s works. However, Rumi elaborates on “love” from a mystic point of view while Gandhi considers it as a political necessity.

The purpose of this article is to analyze the evolution of the concept of self and the other in Iqbāl-e Lāhorī's political thought and action. Iqbal is not only a great thinker of the subcontinent but also a selective poet of Persian and one of the revivers of Islamic identity and at the same time one of the founders of the Pakistani government. The main question is what the evolution of 'self' and 'other' identity was in Iqbāl-e Lāhorī's intellectual and political thought. The main hypothesis of the paper is that Iqbal's political thought evolved from the mystical 'self' to the Sufi isolationist 'other' and the individual identity to the collective identity. Iqbal's own social identity meant first to British colonialism and then to Islamic identity to Indian identity and then to nationalist identity. Iqbal's ideas have shaped Pakistan. The ambiguity between the identity of self and other that was in Iqbal thought was inherited to the Pakistani government.

The family is the first, most important and most blessed social institution in the history of human culture and civilization. Considering the importance of the family institution in societies and considering the cultural and social commonalities between Iran and India. The present study examines the Characteristics of the family institution in India and identifies its commonalities and differences in these two countries. The data of this research work were collected by comparative descriptive method using experimental observation technique (according to the study and six-year life of researchers in India) and the use of secondary data (documentary method). Given the multiplicity of religions and cultures and cultural pluralism in India, the data of this study were only related to Hindu families in the southern Indian state of Karnataka. The outcome of this paper showed that there are many similarities and commonalities in the family institution in Iran and India such as the importance of family formation, sexual regulation, monogamy, family orientation, respect for the elderly, tendency to have children, low employment of women, female illiteracy and differences such as low divorce rates, Populism, violence against women and high abortion rates. The result of the present study was that in these two societies, the family is a natural and basic element of society and as one of the three institutions, structuring the social system of the society (family institution, religion institution and government institution) is centralized in organizing human and social life.

Hafez is one of the poets who influenced a wide range of speakers and poets of his time and after it. He has had an impact on Persian language both in and out of Iran and has been the source of inspiration and creativity of many great poets and writers around the world. Meanwhile, Iqbal Lahori, a Pakistani thinker and poet known for being influenced by Rumi and in his youth for being against Hafez and his thoughts. Iqbal is among those who have been most influenced by Hafez's poetry among the poets of the subcontinent, but so far this issue has not been considered by researchers. With regard to this issue, the present study has tried to classify and examine the extracted samples (by descriptive-analytical method) of the influence of Hafez's poetry in his Persian and Urdu Divan. The results of the research show that the influence of Hafez on Iqbal's poetry has various aspects and forms such as lexical, propositional, narrative, allusive, visual, structural, inspirational-fundamental, etc. and covers both the content and the subject areas.

The tradition of the Prophet (pbuh) after the great Qur'an has been the most credible and reliable criterion for extracting the precepts(laws) of religion. From the very beginning, due to following the Prophet and through perseverance, Muslims extracted the religion's precepts and therefore there was no division and differentiation among Muslims in religion's precepts. Over the recent two centuries, some dissidents (Quranists) With tendency to their opinions and disrespect for the tradition(Sunnah), differed in all religion's precepts including Zakat. However, there have been reports of Quranicism in the first and second centuries of the AH. The present article uses a descriptive-analytical method to express and criticize the Quranists' reasonings about Zakat based on Qur'an's verses and it concludes: The Quranists, by denying the authority of tradition and the tendency to their opinions and rationalism, have tried to comment the Qur'an's verses subjectively according to their opinions, challenged the Zakat laws and they giving up the Quran's credited evidences directed to subjective and justificational interpretations based on argumental intellect.

Mystical ontology is one of the main topics in the field of Islamic mysticism; This issue became more apparent through the teachings of Ibn Arabi. One of the most important issues in ontology proposed by Ibn Arabi is the unity of existence. The main question of this research in general is what the viewpoint of Ibn Arabi (AD: 638 AH) and Ashraf Jahangir (AD: 828 AH) on the unity of existence is and what the commonalities and differences between the viewpoints of the two mystics are. Following this question, the present study, with a descriptive-comparative method, proves the proofs of the unity of existence from the perspective of Ibn Arabi and Ashraf Jahangir. Ibn Arabi is the author of the theory of the unity of existence; While Ashraf Jahangir is one of the students of Sheikh Ala Al-Dawlah Semnani; Nevertheless, he is one of the mystics who follow the theory of the unity of existence. In the worldview of Ibn Arabi and Ashraf, Quranic teachings and prophetic hadiths have a special place. In the discussion of manifestation, Ashraf impressed by Ibn Arabi believes in manifestation in existence. Ibn Arabi's worldview is mixed with mystery, which ultimately leads to “astonishment” and “awesomeness”; However, due to the predominance of theological thoughts and jurisprudential rules of Ashraf Jahangir, he has taken a more theological and jurisprudential context in proving the unity of existence; Nevertheless, in the general form of ontological issues, he tends to the viewpoints of Ibn Arabi.

The characters are the most important elements of a story for understanding the romantic fiction. Different narratives of a story may represent different images and explanations for its characters and impact on narrator’s diverse ways of thinking; it also helps to understand the reason of different feedbacks to each narrative. The enneagram as an important knowledge seeking its root in the combination of oriental mystic with modern psychology tries to describe complex relations of human kind. Nowadays enneagram is being used in education systems, social and sport managements and parents training in order to re-understand the concerning personality types of characters. This comparative analytical article based on library data and primarily tries to introduce enneagram model. After sufficient discussing and comparing and analyzing the data we show that the character of Shirin in Amir Khosro Dehlavi’s “Shirin & Khosro” story accordance with type six based on enneagram model. The article concludes that the character of Shirin is charming, skeptical and also loyal and generally corresponds to the sixth Type of the nine enneagram types.

Waterfront pavilions are one of the innovations of nighttime gardening. In the late Middle Ages and late Islamic period, the tradition of gardening along with watering with a special style was popularized by artists and architects in the subcontinent. It seems that the first examples of this architectural pattern were formed on the continental night during the reign of the Mamluk kings, imitating the landscape architecture of some Hindu temples. The pattern of water pavilions became widespread during the reign of Gurkhani and due to their extensive connection with the Safavid court, this gardening tradition led to the development and continuation of the architectural pattern of the subcontinent culture of Iran. The present research has tried to use this "historical approach" in this architectural pattern in two blanks that have a symmetrical pattern; One to study, introduce and compare the "Jal Mahal Palace in Narnatul" and the other "Destructive Bayrat Palace in the State of Rajasthan" in the Indian subcontinent.

Over the centuries, Iranians' clothing, which consists of different parts, has attracted the attention of the world. Indian clothing also has an irrefutable variety and beauty. Between the fifteenth and eighteenth centuries, various groups including scholars, artists, Sufis, and merchants from Iran came to India and brought about positive developments in various fields including the spread of science, culture, and art. Among Iranians who joined India in a group, Gilani immigrants were appointed to key posts. The research has tried to address only one region in each country that has long-standing garments and features of proximity to ancient women's apparel. Also, by studying clothing and then identifying common elements between Gilani and Rajasthani garments during the fifteenth and eighteenth common garments of centuries, these two regions has been analyzed. The present study is a descriptive-analytic study of the women of Gilan and women in Rajasthan. The Information obtained shows that there are many similarities in their garments including clothing and clothing accessories. One of the main reasons is the presence of Iranians, especially Gilani people in the Indian court, and the spread of Iranian culture in those centuries.

Transmission of idea and inner reality is an important feature of images. This fact has always been accompanied with the display of mental and ideological tensions in historical images. Representing historical characters is one of the most significant features of the Indian Mughal miniature, which has been the manifestation of Mughal emperors’ tastes and interests. There are some crucial points in such portraits which are remained unknown due to reliance on the mere superficial structures and implications. Actually, two important features, i.e. authority and spirituality, are of immense significance in these portraits. Adopting a descriptive-analytical methodology, the present article is to answer the following question: What are the main visual elements relating to authority and spirituality in the Mughal portraits in India? Studying 30 portraits as case studies in this research, the results show that the manifestation of authority and spirituality in the trinity of emperor, sheikh and yogi were considered more than others, and this has been represented in the portraits of the king more conspicuously.

Jain religion is one of the ancient religions of India which has had an atheistic view among Indian schools and beliefs and has been able to occupy a special place in the land of India. One of the important beliefs of this religion is the belief in the Tirtankara which suggests that worship and submission to their teachings is effective in saving the soul from the bondage of Samsara. Tirtankaras can appear in the Middle World Based on a cosmic order and norm without beginning and end, and based on their special Karma compositions and special spiritual knowledge in their previous lives in this rate: And after a period of austerity and spiritual purification in their last material body, they reach this position and, in the end, with their death, they reach absolute liberation from the bondage of Samsara. In the present study, by analyzing the sources, the emergence of Tirtankara in the universe (Earth and including other worlds) has been studied and psychological study of the past and present bodies of Tirtankara and how they achieve liberation from other parts of the research. The present study shows that a kind of deterministic view has overshadowed the whole world history of Jain in connection with the emergence of certain spirits in the body of Tirtankara.

Qazvini (1201 AH) is one of the poets of the Safavid period. Qazvini Divan is composed of various forms of Persian poetry. In this research, with the introduction of Qazvini, we have tried to analyze the poetry, language and thought of the poet's lyric poems by analytical-descriptive method and relying on library resources, so first, in the language; the characteristics of the composition of the language method are considered, and then the principles of the poet's intellectual views are evaluated. The results indicate that considering the point that Qazvini belongs to Indian style period, he is influenced by general style of that period regarding high frequency of sarcasm and jargon, novel compounds, and additional compounds. However, the simple language with mystic and religious themes as well as pseudonym in the final verse (1366 lyrics) has made his lyric poems prominent due to his personal style. Salek is introverted and prefers meaning and content to word processing, and the "colorful meaning" of his poems is derived from the "true fantasies of thought." In addition to the reflection of mystical and religious ideas on the intellectual level, despair, grief, and sorrow have overshadowed his sonnets, which seems to have gone too far in the application of these themes.

Paradox is one of the manifestations of the beauty of expression in literary works and it is considered as one of the highest methods of artistic unfamiliarity that causes the word to deviate from the normal state and has a significant impact on the audience. This literary art may be used as a phrase or combination. The main question of the present research is how Zahed Tabrizi has used paradoxical expression in fertilizing his poetry, and in what ways he has shown the beauties of this art in his beautiful lyric poems. In ascetic poems, paradox in connection with rhetorical arts and aesthetics, metaphor, simile, two-dimensional image, irony, permissiveness, ambiguity, and exaggeration are mixed and the beauty of the content and expression of his poetry is doubled. At the same time, he has mostly used paradoxical compositions to reflect his intentions. The method is descriptive-analytical and is based on library sources.