جستارنامه فرهنگ و هنر اسلامی
سال سوم شماره 2 (پیاپی 6، تابستان 1403)

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.

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.

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

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.