نشریه رهپویه حکمت هنر
سال دوم شماره 2 (پیاپی 3، پاییز و زمستان 1402)

Coffee house painting is a style of Iranian folk painting that benefits from two great sources of Iranian culture: Iranian national culture and Iranian Shiite culture. Among the subjects of the coffee house paintings, the two themes of the story of Rostam and Sohrab and the martyrdom of Hazrat Ali Akbar (a.s.) are frequent subjects. However, it seems that the painters have followed a single model and structure with two different worldviews (national and religious themes) in depicting the two events. This research, using the approach of the daily and nightly system of Gilbert Doran and in a descriptive-analytical method, shows how the coffee house artists, referring to the archetypes, symbols, and motivations, have transfigured the character of Hazrat Ali Akbar (a.s.) in the body of Sohrab. These works combine symbols of animal form, darkness, and falling, drawn from everyday imaginings with negative connotations, representing the fear of death and the passage of time. They intertwine these with common archetypes, such as animal imagery or the portrayal of negative traits in animals, like growling, fleeing from restraint, bloodshed, or the hero’s descent from top to bottom, as a symbol of failure and downfall. These are similarly depicted in both themes, to the same extent and in similar compositions—the killing of Sohrab and the martyrdom of Hazrat Ali-Akbar (AS).On the other hand, there are positive symbols related to overcoming time and fear with archetypes such as swords, knives, daggers, or bows that distinguish purity from impurity and also represent the cultivation and purity of the soul. They are prominently present in both groups of images. A giant man with a big body, which is one of the symbols of ascension, and the light and the organs related to light, which are in the category of spectacular symbols, in the body and face of the main subjects, namely Rostam and Imam Hossein (a.s.). can be identified. In short, it should be mentioned that all the negative and positive symbols in both groups of images are depicted with the same elements and archetypes. In all these pictures, Rostam’s father and Imam Hussain (a.s.) are depicted sitting upright, while holding the head of their dying child in their arms. This upright sitting position of the father belongs to the daily system with a positive value and can be classified in the group of ascension symbols. This figure, sitting upright, refers to the stages of ascension and exaltation of the hero. A giant man, a giant, an angel, or symbols related to light and light organs are also other positive archetypes known in the group of positive symbols and the category of ascension and spectacular symbols. In these images, we can identify the imposing figure of the hero, the invincible body of Rostam, and the blessed body with the radiant aura of Imam Hussain (a.s.). In examining paintings depicting the martyrdom of Hazrat Ali Akbar, the notable aspect is the symbolic presence of the sun, not as a passive object but as an active participant in the scene. Ashura happens at noon and when the sun is at the center of the sky. But the sun depicted in the paintings takes on a symbolic and symbolic color and plays the role of an observing subject seeking to uncover the truth. This Sun is a reminder of the ancient God, Mithras, who is the symbol of the seal in the Iranian love religion, and in the Avesta, the body of Ahura Mazda is likened to the sun. In the theoretical system of Doran, the sun is also considered as the eye of God. It is considered as one of the spectacular symbols. In the paintings with the theme of the martyrdom of Hazrat Ali Akbar (a.s.), we can clearly see this adaptation of the content of the Shahnameh, that the sun is not an insignificant object, but an independent personality and as one of the symbols representing the truth. It has a decisive presence in the battle between good and evil and is the eye of God watching over the story. In fact, by taking the help of the element of imagination and using the myth-text of Ferdowsi’s Shahnameh, the Coffee house painters tried to depict personal fears (fear of death) and the collective unconscious (the passage of time) in a Shiite narrative.

Decorations are an integral part of Islamic art. Islamic art is formed based on decorations to accurately represent nature. Decorations in Islamic art have emerged as three main elements including: Islamic pattern, geometric pattern and calligraphy (inscription) and two secondary elements: animal motifs and human motifs. These motifs may be engraved separately or in combination with each other. Among these decorative elements, the role of Slimi has a special place. In fact, this role is considered one of the noblest and most original creative elements of Islamic art in Iran and the Islamic world. This role is used not only to decorate religious places and objects, but also to decorate everyday items. The role of Islimi as a fundamental role has a special place in the history of decorative arts of the world.Due to the fact that the Islamic pattern is the most important pattern used for decorations by artists, but compared to other decorative elements such as khatnagareh (inscription) and garh (geometric patterns), it has been less researched and analyzed. The oldest document that is currently available that uses the word 'Islimi' belongs to "Zaradeh" which was prepared by the librarian of Sultan Baysanghar Mirza (802-837 AH) during the Timurid period. This "offered" is actually a working report on the state of the royal library, it is currently kept in the library of Topkapi Museum in Istanbul (Khazaei, 1398, 125). Sadeghi Beyk Afshar, an artist and writer of the Safavid era, who was once the librarian of Shah Abbas, in his book "Qanun al-Sour" which he wrote around the end of the 10th century of Hijri, considers Islimi as one of the seven main painting. Qazi Mir Syed Ahmad Manshi Qomi in his book Golestan Art describes the decorative elements of painting and gilding as seven principles, the first of which is "Islamic" (Manshi Qomi, 132, 1366). In the preface of Dost Muhammad, Bahram Mirza considers Motif As-Islimi to be the invention of Imam Ali (A.S.) (Khazaei, 1398, 119).Although Europe's attention to Islamic art has its roots in the Renaissance and the Middle Ages, in the 19th and 20th centuries, this category received more attention and many articles were written about geometric decoration in Islamic architecture. In these studies, the term "Arabesque" is used to express Muslim decorations and they consider it the gem of the unity of Islamic visual culture (Necipoglu, 1995, 87). Several different definitions for arabesque have been expressed in such a way that most consider it equivalent to all decorative elements such as calligraphy, plant motifs, geometric motifs and even iconography. Some people have mentioned it only for plant motifs. In Islamic art, the Islamic motif is a single form of a plant ornament, in which the rhythmic leaves are attached to wavy or spiral stems and along each other, they induce repetition and the desire to move.It seems that the special place of Iranian art in the origin and evolution of motifs has not been evaluated in choosing the word Arabesque. This issue could be due to the fact that this term was chosen by orientalists, who focused more on the cultural elements of the western Islamic world, including Morocco, Egypt, North Africa, and Spain, than on Iran and the eastern lands.Although many studies have been conducted by orientalists in the field of Islamic decorative arts, the first person to seriously investigate the Islamic pattern under the title "Arabesque" was Alois Riegel (1858-1905), an Austrian art scholar in the book The quality of style was published in Berlin in 1893 (Riegl, 1992). The subject of arabesque was followed later by the articles of researcher Dimand (Dimand, 1937 & 1952). Studies about Islimi in the entries of the two editions of the Encyclopedia of Islam by Ernst Herzfeld (1938) and Ernst Kühnel (1960) and some recent publications such as Necipoglu (Necipoglu, 1995) and Khazaie (1999) continued. has been found.It should be noted that the role of Islam did not suddenly appear at the time of the emergence of Islam, but the origin of this role was rooted in pre-Islamic art. In the same way that the artists of the first centuries of Islam based their innovations on the foundation of pre-Islamic art. The origin and continuation of the artistic development of this role before Islam has been widely described and expressed by Orientalists, and most of them refer its origin to Greco-Roman (ancient classical) art. Alois Riegl refers the origin of the salami motif to a plant that has its roots in ancient (Greece) palm and ivy decorations (Riegl, 267, 1992). Ernst Herzfeld claims that its origin is certainly derived from classical foliage decorations (Herzfeld, 363, 1938). Ernst Kühnel traces the origins of the Islimi motif to the Late Classical period, noting that it acquired its typical form in the 3rd century AH under Abbasid rule (749-1258 AD) and was fully developed in the 5th century (Kühnel , 561, 1960). Arthur Pope suggests that the Iranian Slimi pattern does not represent any real object in nature at all, but is taken from the beautiful Greek architectural ornament, Anthemion (Palmetto) (Pope, 39, 1356).Islimi Motif was born from the idea of Bali-shaped motifs before Islam - Sassanid. In the Islamic era, the role of the wing is simplified to such an extent that it often lost its identity and became an abstract form that we know today as Islami. In the following, he describes and explains the different stages of the role of Balishaq until reaching the role of Slimi.It seems that the use of these Bali-shaped motifs was not only decorative, but had religious significance. It was said that this spiritual connection with the "divine wisdom of ancient Iran" is fully evident in Iranian art before Islam (Sehrvardi, 2018, 1377). This connection caused the Sasanian wing pattern to be present among the decorations of the Islamic forehead long after the fall of the empire. Patterns with two symmetrical wings or palm wings are one of the most original and honorable forms among pre-Islamic patterns. The most obvious one is the role of an angel, which is achieved by adding two wings to the body of an earthly human. This angel has holiness and is considered a symbol of the extraterrestrial world. The role of Fereshte is one of the services of Iranian artists in the history of ancient art, which was given to the world of art. The role of the angel without changing its form and even its meaning continues to make its way from ancient art to Islamic art.

The intellectual foundations and personality of people are shaped by their upbringing and education during childhood and adolescence. If a person’s cognitive abilities are properly introduced to the concepts of exploration, discovery, and learning during childhood, it will manifest in their intellectual growth and maturity in the future. “Storytelling” has long been welcomed as a suitable tool to convey the philosophical and fundamental concepts of life to the pure and untainted minds of children. Folk stories or native-local legends that are generally passed down orally from parents to children imply the awareness of our ancestors about the effectiveness of storytelling tools. Folk stories accompanied by performances, making dolls, and poetry reading to increase the appeal of stories play an undeniable role in better conveying concepts to children. Also, these stories increase the intimacy between parents and children.This research studies the folk story “Geishe”, which has been stated for many years by the residents of Abkenar village (in Gilan province) for children. In this tale, a girl has to cross a wetland with a boat to reach her lover’s (or husband’s) village for her wedding celebration. While passing through the wetland, the weather changes and a storm causes the girl and her companions to drown. After the death of the girl, the residents of Abkenar village called the wetland «Siah Geishe». In the local language, Geishe means the bride, and Siah means black. The women of the village would then recount this event to their children every year in the form of a story. In this manner, the intangible cultural heritage has been preserved for numerous years. At the end of the story, they make dolls with black and white faces (a symbol of sadness and happiness in life) and give them as gifts to their children. A doll as a gift makes this sad story bearable for children. So they can think carefully about the concepts of life and death hidden in this story.The purpose of this research is to preserve the intangible cultural heritage and answer the following questions: (1) What is the main reason for telling the story of Gisheh to children in Abkenar village? (2) What is the permanence secret of this story with an age of more than 200 years? The research has been conducted using a comparative method between the elements of this native story with existential concerns in the existential psychotherapy school. The story’s narration method was obtained through face-to-face interviews with the elders of Abkenar village.In addition, this research evaluates the concepts hidden (human desires, the meaning of life, and moral values) in the story of Geishe. At first, the concerns in the story, such as the death of Geishe, interpersonal loneliness, responsibility against Geishe’s death, and folk emptiness have been identified. These concerns are then compared with four existential concerns (death, existential loneliness, freedom, and the meaning of life) in existential philosophy. The results show that these concerns have been included in this story directly and indirectly. Finally, a comparative evaluation has been done between the approaches proposed by the famous psychotherapist of existentialist psychology, Irvin Yalom, and the approaches chosen by the residents of Abkenar village. The most important approaches of village residents against this event are (i) Positive rippling, (ii) Repression and Symbolization, (iii) Collective mourning, and (iv) Endurance and patience. It was found that Geishe’s folk story has offered valuable approaches to confront humans with existential concerns in the universe. These approaches are according to the approaches proposed by Irvin Yalom, which imply the knowledge and awareness of our ancestors about human existence.

Over thousands of years and depending on different traditions, values, and even geographical environments in different parts of the earth, people have been raised who have different beliefs about their existence. Different understandings of human position have led to the emergence of different cultures. Iran and Greece were the origin of civilization. The culture of these two countries has important differences and therefore they have created different arts. For example, the artworks of ancient Greece, due to the humanism and rationalism of this European culture, usually tend towards naturalism. while the artworks of ancient Iran, due to the different views of this Middle Eastern culture towards humans and the world, are often abstract. From around the 5th century, a breaking in European culture, the Middle Ages began. In the Middle Ages, because of the dominance of Christianity, Europe moved away from humanistic culture. After these developments in European culture, art moved away from Greek naturalism and moved closer to Middle Eastern abstractionism. One of the most important signs of medieval painting in Europe is lacking perspective, like Middle Eastern paintings. From around the 15th century, it became necessary to change the painting methods. Because after the Renaissance, all aspects of life gradually changed, and painting could not remain unchanged. The Renaissance, which was the result of the return to humanism and the values of ancient Greece and Rome, also needed its own paintings; paintings that are in harmony with the values of humanism, including naturalism and rationalism. In other words, humanism, which was the ruling spirit of the Renaissance, turned perspective into a problem for the painters of that period. Finally, a group of geniuses solved that by using scientific rules. Due to the stability of the fundamental values of Iranian culture, classical Iranian painting has had almost constant characteristics from ancient times to the Islamic period. One of the distinctive characteristics of Iranian painting is the lack of perspective. Iran’s culture, both in ancient times and in the Islamic period, has had different values and may even conflict with humanism. Therefore, the use of the perspective technique, which seems to be a reflection of humanism in painting, cannot be justified in Iranian painting. In the end, regarding the use of perspective in new Iranian painting (The works of artists such as Hossein Behzad), it is necessary to remember that although it is unreasonable to expect the technique and form of Iranian painting to remain unchanged throughout history, the use of perspective in this art is not justified. As explained before, perspective is a reflection of humanist values in painting, and these values - good or bad - do not have a presence among the basic values of Iran’s mostly traditional culture. The inconsistency of the use of perspective with new Iranian paintings becomes more apparent when we pay attention to the subject of these paintings, mainly taken from ancient Iranian literature and epics. Ancient Iranian literature and epics generally guide people to follow traditions and make them afraid of the consequences of breaking traditions.

The relationship between traditional art and Islamic art in the contemporary era is thought to be rooted in similar foundations regarding structure and content. This connection and integration can provide a solution for restoring spiritual meaning in a time of confusion and crisis, wherein the modern individual grapples with an identity crisis.This research aims to retell the relationship between traditional arts and the wisdom of Islamic art, seeking to consolidate this concept to once again provide a possibility to realize moral values and pay attention to the place of art as a tool to respond to the spiritual needs of humans in the digital age. The most important question raised in the meantime is how can we give a real meaning to the concept called “contemporary Islamic art” by redefining the basics of traditional arts? Although answering this question can seem challenging from different philosophical and judicial views, it is necessary to find it in the current situation and for the new generation involved in the cultural invasion and global identity crisis. This research takes a philosophical-theological approach and aims to be critiqued and investigated using a descriptive-analytical method, relying on written documents and reliable library sources. In the end, the most significant finding and result of this research show that Islamic art, if interpreted based on the principles of ruling and relying on the tradition of the Qa’ima, can become a possibility to respond to the spiritual needs of contemporary man with regard to ethical concepts and a truth-seeking approach, it will provide clear horizons in facing the digital world; And is the best defender against the invasion of computational algorithms and problems similar to the industrial revolution.On the other hand, in the relationship between Islamic art and traditional art, this wisdom, unlike modern teachings, is not a function of the artist’s taste, genius, personal capabilities, and skill. Because the beauty of this art cannot be understood only by human senses, it has a light that must be seen with the eyes of the heart and soul to remove the veil from existence and send the soul to the garden of its kingdom. All these meanings are written in texts and on paper in the contemporary era, like poetry, and are not put into practice. That’s why the new generation and users of contemporary art in the world of artificial intelligence, expect to encounter intuitive concepts. And do not understand the true meaning of life. It seems that the contemporary man has closed his eyes to the eternal truth and accustomed his heart to darkness; the pleasure of luxury and the speed of information transfer have become more attractive to him than high human ideals. The problem of contemporary man is only to see the beauty and not to understand the meaning of it. A possibility that must be deeply reviewed, and restored to reach true knowledge to turn the identity crisis caused by the distortion of the postmodern era into liberation from the shackles of technology.

The research title explores the identity of women during the Al-Jalair period The current article is a significant study aiming to understand the status and identity of women during the Al-Jalair period in Iranian society. This will be achieved through an analysis of the illustrations in the story “Homay and Homayun” in the court of Khajovi Kermani. Humai and Humayun is a romantic Masnawi in “Diwan Khajui Kermani” and is considered one of the most important manuscripts of the Al-Jalair period, dated 28 Jumadi al-Awl 798 AH, which includes the love story of Humai (Iranian prince) and Humayun (daughter of the Khaqan of China) and the two divans of “Kamalnameh” and “Rawzah al-Anwar”. This divan was written in the script of “Mir Ali Tabrizi” (the founder of the Nastaliq script) and illustrated by “Junid Naqash” (Sultani), the first Iranian figure painter. During the interregnum after the death of Abu Said Khan in 736 AH until the rise of Timur Gurkani (771-807 AH), the territory of the Mughal Ilkhans was divided among the influential rulers, the most famous of which was the Al-Jalair dynasty (740-836 AH). Although Iran’s political stability was disrupted by the emergence of small local dynasties in the 8th century AH, this led to the establishment of significant art centers in a short period. “Sultan Ahmad” (of Al-Jalair Sultans), although very hard-hearted in his reign, had a delicate artistic taste.He supported artists and was a poet and painter himself. During his reign, the cities of Tabriz and Baghdad had schools of painting. After the conquest of Baghdad, Timur sent a group of painters from there to Central Asia, and the gentle, lyrical, and poetic painting style of the Jalarians was established as a classical style during the Timurid period. Based on this, the primary focus of the present study is to examine how women’s identity was depicted during the Al-Jalair period through the artworks of Homay and Homayun. Thus, this study utilized the descriptive-analytical method and historical and sociological approaches to examine the depiction of women’s identity in the paintings of Homay and Homayun. The analysis of Homay and Homayun’s paintings reveals that the creation of “Homay and Homayun” paintings, with their artistic coordinates, depicts a human identity distinct from previous periods of women. This creation is not solely based on the artist’s mentality and imagination but is also a reflection of the cultural and social conditions of the time. It reveals the prevailing spirit, portraying the woman’s identity not as a sexual object with a passive role, unlike existing depictions.

Erwin Panofsky, a prominent art historian, introduced the concept of iconology as a methodical approach to interpreting and decoding artworks. This approach involves delving into and establishing connections between the visual elements of an artwork and its underlying linguistic foundations, cultural concepts, and ideologies. Iconology, as proposed by Panofsky, goes beyond simply analyzing the formal aspects of an artwork. It seeks to uncover the deeper layers of meaning embedded within the visual representation. By analyzing the visual elements related to the linguistic and cultural context of the artwork’s creation, iconology reveals the complex interplay of symbols, metaphors, and allegories. By using iconology, scholars and art historians can achieve a more thorough understanding of the significance of an artwork. The systematic approach of iconology allows for a nuanced analysis that goes beyond surface-level observations. It enables exploration of the complex interconnections between form, content, and the cultural context. The current research aims to investigate the artistic contributions of Nizamuddin Sultan Mohammad Tabrizi and sheds light on the animal painting technique called the “Gereft-o-Gir method” during the Tabriz Safavid era in Iran. Animal paintings, characterized using the “Gereft-o-Gir method,” were widely employed in Persian art and held significant symbolic value. These paintings symbolize the eternal struggle between opposing forces, with one ultimately prevailing over the other. In mythology, they represent the battle between good and evil, lightness and darkness. The “Gereft-o-Gir method” is a unique painting style in which artists depict scenes of animal combat in a symbolic, imaginative, and sometimes mythological manner. This research employs a descriptive-analytical approach to address the inquiry into the hidden meanings embedded within the animal fighting depicted in Sultan Mohammad’s paintings. Specifically, this study focuses on a case study of the painting titled “Rostam Sleeping while Rakhsh fights a Lion” found in Ferdowsi’s Shahnameh (The First Labor). By analyzing the visual details, symbolism, and cultural context of this particular artwork, this research aims to uncover the underlying messages and allegorical representations. The investigation seeks to decipher the intricate narrative and symbolic significance behind the depiction of animal combat, exploring its connection to the broader cultural, social, and mythological frameworks of the Tabriz Safavid era. Furthermore, this research contributes to a broader understanding of Nizamuddin Sultan Mohammad Tabrizi’s artistic legacy and his unique approach to animal painting. By examining his works through the lens of the “Gereft-o-Gir method,” scholars and art enthusiasts can gain insights into the artist’s creative process, his symbolic language, and his engagement with the prevailing cultural and ideological currents of the time. This study uses Erwin Panofsky’s approach (Iconology) to analyze the paintings. The study’s conclusions demonstrate that Sultan Mohammad was able to convey the epic tale of the Shahnameh (The First Labor) symbolically and metaphorically through the creation of this artwork. He instills ideas that go beyond the story’s surface level by using characters such as the horse (Rakhsh), lion, snake, and trees. Rakhsh’s battle with the lion symbolizes the struggle between good and evil, while the sudden appearance of the snake on the tree represents the ongoing conflict between demons and divine forces. In general, Sultan Mohammad portrayed complex ideas appealingly by fusing natural and animal features, appealing motifs, and the linguistic framework of the Shahnameh.

The tomb of Sultan Shahabuddin or Sheikh Shahabuddin, located in Haji Delai, Larijan, Mazandaran, is one of the magnificent works of art that were created during the Safavid era. The issue is the close and deep connection between divine wisdom in general and transcendental wisdom in particular with Islamic and Iranian art and architecture. It is possible to compare works of art and ruling principles and to explain the manifestation of wisdom, especially transcendental wisdom, in works of art and architecture. The sublime wisdom founded by Hakim Sadr al-Muta’allihin Shirazi (Mulla Sadra) is based on several fundamental principles, including the principality of existence, gradation in existence, unity of existence, and substantial movement.  This study seeks to match the aspects of Islamic Iranian architecture in the tomb of Sultan Shahabuddin with some principles of transcendental wisdom. The most effective approach to understanding the architecture and art of tiling and decorations from different periods is to comprehend each era’s key elements and prevailing principles.  The words of sublime wisdom have the most accurate description of this art. Therefore, the question posed in this research is how to examine the principles of transcendental wisdom and the architectural concepts and decoration of the tile patterns of this building, either in calligraphy or in visual form. He made a connection between those principles and these concepts. Therefore, to answer this question, the present research aims to know the principles of Mulla Sadra’s transcendental wisdom and their relationship with the artistic and architectural aspects of Sultan Shahabuddin’s tomb. The ambiance of this structure is straightforward yet challenging to fully grasp. The building of this mausoleum looks like a simple building from the outside, but it is full of semantic complications from the inside. The most significant necessity of conducting this research is to pay attention to preserving the national capital. This building is now strangely empty of decorations and tiles. Some of its tiles, recovered from looters, were transferred to the Amol Art Museum, while profiteers looted many others over time.  The method of the upcoming article is descriptive-comparative, and it seeks to achieve the goal of comparing some of the artistic features of the tomb of Sultan Shahabuddin Yehaji Dalai in Mazandaran with some of the principles of transcendental wisdom.  The architect, tiler, and calligrapher of Sultan Shahabuddin’s mausoleum, with a symbolic and mysterious language, tries to induce the truth of existence by using the arrangement of light; principality of existence by creating spatial continuity in the building; gradation of existence with the hierarchies of spaces and plant motifs on the tiles, and even the verses and hadiths and mystical sayings on the six-layer tiles; the unity of existence with the pointed conical dome and the substantial movement with plant motifs. The results of this research, the materials of which were collected by field and library methods, show that the architecture and decorations of this building are in line with the principles of Sadra’s transcendental wisdom, especially the principality of existence, gradation of existence, and substantial movement.

One of the most fundamental cultural characteristics of a country is its educational system and public education. With the beginning of the modern era, following the change in the position of man in the world, the need for changes became more apparent. According to many experts, the Qajar era is the beginning of an era of transformation in Iranian society. According to social innovations in this period, there was an increasing need to expand the public education system and establish new schools. The interesting point is that in this period of history, the importance and necessity of public education was not only the concern of Iranian intellectuals and elites, but gradually the common people also realized its role and showed interest in acquiring it. In the new Qajar era educational system, teaching painting was a discipline that received special attention from the outset. The first students sent to the West to learn this art form were given particular consideration, as were the establishment of schools. While early painting instruction often emphasized non-artistic uses such as military, science, medicine, and geography, it later became acknowledged as a fine art within the educational system, even leading to the establishment of specialized schools. One of the branches provided in the program of the new schools of the Qajar period was the teaching of painting, taught both in a school such as Dar al-Funun, which had the mission of teaching innovative sciences and crafts, and in Majma-ul-Sana’i, which was established with the aim of training and promoting various industries and techniques. There are scattered reports about the teaching of painting in the mentioned schools, as well as the activities of the first painting teachers, and this scattering has caused some mistakes and contradictions in this matter. The present article has been carried out to clarify some of these ambiguities and resolve contradictions with the descriptive-analytical research method. Data collection has been conducted with a library-documentary method, and the information has been analyzed using inductive reasoning. By referring to the main documents of the Qajar period, including travelogues, newspapers, diaries, and maps, and then by comparing their information, the difference between the performance of the two Dar al-Funun schools and Majam al-Sana’i and the different approaches to teaching painting in these two institutions becomes clear. Also, the distinction between the activities in the first and second industrial assemblies and the confusion of these two schools with the same name in some sources, which has led to historical mistakes, are discussed. Regarding the first new teachers of painting, according to a large number of modern sources, Mirza Malkam Khan is mentioned as the first teacher of painting. Thus, based on the comparison of historical documents and existing reports, the present essay explains Malkam Khan’s activities. Malkam Khan cannot be considered the first painting teacher in new schools. In this article, after comparing newspaper reports, it was clarified that the intent of teaching Malkam’s painting was to instruct in the principles of drawing geometry and geographical mapping, rather than the fine art of painting. Therefore, attributing the position of the first painting teacher to him is incorrect. On the other hand, the establishment of laws and the provision of national education guidelines and the place of painting education in it, by Malek Khan, also mentioned in the article, shows that Iran’s society teaches painting at high levels of education and under the program. Fazliyeh schools, at a higher level than Tarbiyah schools, have been positioned. In addition, according to the fifth paragraph of the mentioned laws, it was decided that special schools should be established for some techniques, including painting, in each of the three schools (Tarbiyah, Fazliyah, and Aliyah). Another important point was the universalization of education up to the level of high schools, which was achieved through modern schools and removed art learning from the monopoly of private individuals. Finally, the establishment of the Sani-ul-Molk State Painting Gallery provided the opportunity for art education for people of different classes, breaking the government’s monopoly on education. This significance can be viewed as the basis of the State Painting Institute, as well as comparable schools that followed, such as Sanai-e Mustazrafeh. Therefore, it can be said that during the Qajar era, with the entry of modern culture into Iran, the traditional structures were transformed, leading to the need for changes in the education system becoming one of the main concerns. Following the expansion of educational institutions and modern schools in Iran, a kind of decentralization occurred in the field of national education, which caused a plurality of opinions and diversity of approaches in the discussion of education, as the main platform for scientific growth and social innovation.

Aesthetics is a branch of philosophy whose subject is the nature of beauty and taste, as well as the philosophy of art (it has its own field of philosophy that emerges from aesthetics). Also, aesthetics is an ability to better understand perceptions, as well as hard phenomena such as sculpture and soft phenomena such as music. It causes a change in a person’s mood and attitude. Ibn Haytham’s approach is akin to an experimental mindset based on a profound understanding of Greek science and philosophy, as well as the rational observation of humanity’s connection with the natural world and physical laws. Ibn al-Haytham’s proposed approach beautifully relates to a complex phenomenon. He has studied this subject as both a physicist and a thinker, leading to the establishment of this connection. Visual perception occurs because the eye is made up of layers, coverings, and numerous parts; however, its main component is located in the front part of the brain. In the treatise “Al Manazar”, Ibn al-Haytham’s explanation of the vision process as a major and preliminary cognitive experience has a surprisingly phenomenological and psychophysical tone. This issue is especially evident when he proposes the theory of sensory perception of the beauty of objects of perception (Al-Hassan). This treatise initially proposes an important scientific statement about the physical process of vision as a result of the actions of light and color and he believes that according to two principles of beauty in objects, they differ from each other, firstly because of the characteristics or general visual characteristics of those that he introduces in a list, and these characteristics are the general structure of objects or the ground. They create them, which create beauty also for example, light in the list of these 22 factors (characteristics), is the first item that creates beauty, and that is why we consider the sun, the moon, and the stars to be beautiful things, while it should be noted that the sun, the moon, and the stars are what enhance their beauty. There is no way to make things beautiful or to give them a beautiful shape, everything that exists is because of their brilliance. Ibn al-Haytham’s theory of perception of beauty takes into account the qualities and visual structure necessary in the work of art. It is necessary to research the potential aspects of his theories in the field of aesthetics and visual structure. Iran Darudi gives an Iranian identity to his works with aesthetic elements, he made light the main goal to get closer to the ideas of Iranian culture and also uses light to induce the expression of his feelings so that the audience understands the concept of the artist’s sense and he has reached this conclusion. that no color is a color outside of the radiation of light, and the colors are only in proximity and influencing each other, which reveal their quality and color. Due to the structural nature of painting, whose aesthetics is based on principles that are completely consistent with the 22 cases in Ibn al-Haytham’s opinions, the purpose of this article is to examine these theoretical cases and how to apply them in the art of painting, and to answer the question of how the aesthetic theory of light and color from Ibn al-Haytham’s point of view can be He understood the modern principles of aesthetics in the Iranian works of Darudi, first, he describes and analyzes the nature and characteristics of Darudi’s works and then analyzes those works with Ibn Haitham’s opinions. This article whose theoretical method is based on Islamic philosophy theorist Ibn al-Haytham. In this aesthetic approach that deals with the form of the work, Ibn al-Haytham defines aesthetics as follows “He defined beauty (beauty) not as a simple factor, but as a complex interaction between twenty-two factors.” This is a very subtle point that Ibn al-Haytham defined only two of these factors, light and color (which itself is a property derived from light). They have motivational power, that is, they can create an effect in the soul that makes the face look beautiful. The research method is practical in terms of purpose and descriptive-analytical in terms of perspective, and the information is also obtained based on library studies. The research results show the efficiency of Ibn Haitham’s approach in the field of aesthetics of contemporary painting. By achieving a powerful and masterful technique, this artist has been able to draw the most delicate and delicate spiritual vibrations and her aesthetic attitude on the screen of her paintings.

The second Iranian script of Persian calligraphy, Nastaliq, gradually emerged in the late 7th and early 8th centuries AH. For this reason, the Timurid period is considered one of the most important periods in the development of the Nastaliq script. A famous calligrapher in the Timurid era and the great master of Nastaliq script, Sultan Ali Mashhadi (1437-1520 CE), whose name is imprinted on Iranian calligraphy mentioned in his famous treatise, “Serat al-Sotour”, that he had had a great passion for calligraphy to such an extent that he had decided to fast for Ali Ibn Abi Talib, the first Imam of Shiites so that his calligraphy could reach to the highest point. After that, one night, he dreamed of Ali Ibn Abi Talib in his dream, observing his handwriting and teaching him the secrets of calligraphy. This research, based on the mentioned dream, and using a descriptive-analytical method and through documentary studies and library sources, aims to interpret the story of Sultan Ali Mashhadi’s dream by considering Hakim Abu Nasr Farabi’s Theory of Revelation to analyze the role of Ali Ibn Abi Talib in Sultan Ali Mashhadi’s dream.The founder of Islamic philosophy, Hakim Abu Nasr Farabi, was the first philosopher in the history of Islamic philosophy who methodically illuminated the issue of revelation and subsequently the prophethood mission. In his view of Revelation Theory, he explains the possibility of revelatory experience by resorting to dreams. This view has been developed and become the foundation of the great Islamic philosophers’ thoughts in the history of Islamic philosophy. To clarify the role of Ali Ibn Abi Talib in Sultan Ali Mashhadi’s dream based on Farabi’s Revelation Theory, this article first casts a glance at Farabi’s views, especially his Theory of Revelation, and then continues the research by discussing the previously mentioned dream and its intellectual basis.In the next step, the role of Ali Ibn Abi Talib is studied based on Abu Nasr Farabi’s views and his Theory of Revelation. Finally, according to the analyses and documentation represented in the last part of the study, this research shows that Ali Ibn Abi Talib not only appeared in Sultan Ali Mashhadi’s dream as the active intellect (the tenth intellect) in Farabi’s Revelation Theory but also had the same responsibility. In this role, Ali Ibn Abi Talib, as the active intellect, connects the material world with the transcendental one and provides the possibility of transferring knowledge and divine grace to the heart and soul of the calligrapher. Sultan Ali Mashhadi, who left behind his materialistic and mundane interests by fasting, made it possible to receive divine grace in his dream through the guidance of Ali Ibn Abi Talib.

In different ages of history, Iranian life has been affected by various thoughts and governments which have shown their reflection in many areas. In this regard, the Mongol invasion in the 7th century deeply and steadily changed the base of life in Iran. Of course, Mongol invasions in other Asian countries, such as China, also influenced, and besides having social and political effects, altered the artworks.  Throughout history, Iran and China have had artistic and cultural interactions together, However, one of the most effective relationships has been established by the Mongol government and the Patriarch. China, although has used enrichment art in various ages, has been affected by ancient Iranian art, especially in the Achaemenids and Sasanian ages in his works, the in the Patriarch age some of the art marks with China technics returned to Iran. In this regard, Iran’s painting after Islam came into it, was declined illustration, when Mongolian came to power and initiated the new age. This article studied the affecting agents of Chinese painting (especially horse pictures) in the Yuan Age on Iran in the Patriarch Age which arose from art and cultural interactions between them by using patterns. In this regard, first, we must know what cultural agents or visual elements have influenced to Patriarch Age’s painting. And whether this effect has been a mere pattern or in some situations it has been implemented and adopted or whether all concepts have been used the same? We know art enrichment in both China and Iran has life to the extent of history length. Along with political and commercial relations, the art in these two countries has affected each other. But in the Patriarch age, this art heritage returned to Iran with Chinese technique. Results of these effects have been seen at first in book paintings. One of the bureaus related to the work of Iranian artists is Ibn Bakhtishoe’s Manafe Al-heyvan. This book has 94 pictures within painting methods of Abbasid painting methods, style-painting of Iranian designers and Chinese painting has been collected all together. The Shah-Nameh of Demoth and Javame Al-Tavarikh books are graphic books within Chinese painting effects that have been seen because of the presence of a Chinese designer in Patriarch Darbar. Of course, because of the Mongol invasion of China, deep changes also occurred in the Chinese painting style and led to artists being dissociable. Painter literature and individual issues were replaced with mere naturalism. Regarding relations between Iran and China in the Patriarch Age, the art in the two countries has been affected for the third time by interactions during civilization history. After Islam, painting declined because of the prohibition of portrait painting and imagination in Iran. Painting was forgotten more than other arts. After the Mongol invasion, in addition to entering artworks by traders, artists also traveled, which led to them contributing to the book’s painting and raising it in the Patriarch age. Although Iranian artists have tried to make Iranian-Islamic traces in their works, patterning of design and concepts or forms of Chinese painting in these works was inescapable. The cultural connection between Iranian and Chinese cultures in the epic story of Shah-Nameh has resulted in a homogenization of their respective issues. The Mongol invasion of China led artists to address political and social issues, in addition to avoiding the royal court. They did not choose nature as a safe topic for their works and used the image of a horse attack in a harsh natural setting. The issues were epic due to their connection to nature, and they were executed uniquely. In Iranian designs, horse imagery has become more prevalent, possibly influenced by the Seljuk period. Meanwhile, horse anatomy has influenced Chinese designs, manifesting in diverse ways. For example, one can show the rotation of the white horse body in the Alexander and Dragon fight picture. Figure faces usually have three facets, and their eye and ulcer profiles are Mongolian and Chinese clouds pictures observed very well. In the remaining books from that era, such as Javame Al-Tavarikh, most of the illustrations have been influenced by Chinese painting. In this regard, one can point to the soil colors and largo of pen, high flown state of hills, weir, and horizontal pictures similar to Chinese roll pictures. Also, emphasis on moving along with equitation in the limited space fight, presence of traditional elements including golden sky, sparsity of tree’s stem and leaf, breaking the picture frame with horse’s leg, and riding a flag is the special technique of Mongol designers in 730 AH. Although circled saddle and golden cloths are shown since the middle of the hejiri 8th century, but circled shield of the helmet ears are indications of the end of the 7,8 centuries.