https://el.itaihe.ac.ir/ Theology of Art en daily 1 Wed, 19 Feb 2025 00:00:00 +0330 Wed, 19 Feb 2025 00:00:00 +0330 https://el.itaihe.ac.ir/article_716970.html The Holy Quran is the divine book guiding humanity, employing various expressive methods for this purpose. The precise and captivating expression "They are garments for you, and you are garments for them" possesses extraordinary capability in conveying these concepts and intentions, encompassing both verbal and spiritual beauty. Considering the significance of discussing the verbal and spiritual beauties of the verses of the Holy Quran, this article aims to conduct a literary and rhetorical analysis of the analogy of spouses to garments. It explores the perspectives of scholars and Islamic interpreters in uncovering and analyzing the verbal and spiritual beauties of this expression. The article presents the verbal merits of the verse using this Quranic metaphor within the framework of literary and rhetorical points such as simile, metaphor, allusion, brevity, and figures of speech. Additionally, from a spiritual perspective, it extracts ethical, educational, and behavioral points such as principles of spouse selection, the nature of marital relationships, and the functions of appropriate relations like mutual tranquility, beautification and adornment, loving coexistence, and good companionship, as well as the bond and unity between spouses. https://el.itaihe.ac.ir/article_716966.html Apart from its historical aspect, iconographic paintings can be one of the expressions of art, religion and art in different periods. One of the most important aspects of the importance of studying in these subjects is the transmission of religious traditions with an emphasis on Shiite painting in the representation of Hazrat Ali and Hassanin, which was repeated in different arts and with different visual qualities in the Qajar period. Apart from its visual and decorative features from a religious point of view, the emphasis on a religious role reflects a suitable context for the emphasis on the Shia religion and its interest in the Qajar period. The purpose of this research is to find out the evolution and the way of representation of Imam Ali (AS), the first Imam of Shiites, together with his two young children, who has been depicted many times in different arts, accompanied by two slaves or alone. The research questions are as follows: What visual changes can be seen regarding the representation of the faces of Imam Ali (AS) and Hassanin (AS) in the iconography of different arts? What are the structural features of these images and what are their similarities and differences in the images? The research method in this research is descriptive and analytical with a historical approach and the research is of qualitative type. The research was done by using library sources and examining museum samples, and the method https://el.itaihe.ac.ir/article_716972.html Modernism, which emerged from the heart of modernity, represents significant transformations in the modern world. Modernity appeared in the West after the Renaissance, with a focus on humanity, freedom, and individualism, aiming to change various aspects of life. Art was also influenced by this process, undergoing many transformations. The topic of modern art and the crisis of modernity has always been a focal point for thinkers. Critics like the intellectuals of the Frankfurt School and the Traditionalist school have proposed critical theories on this matter, and this study aims to conduct a comparative examination of their views, with an emphasis on the perspectives of Theodor Adorno and Seyyed Hossein Nasr.This research seeks to answer the question of the similarities and differences between the Frankfurt School and the Traditionalists’ views on modern art, focusing on Adorno and Nasr. The findings indicate that Nasr, from a traditionalist stance, critiques modern art by emphasizing the preservation of traditional values and considering art as a means to convey spiritual truths. On the other hand, Adorno critiques modern art with a critical perspective, viewing it as a tool to criticize capitalist society. Ultimately, this study shows that both schools critique modern art from different angles, and their perspectives can contribute to solving the problems of modern art. Using a descriptive-analytical method based on library research, this paper examines modern art through the theories of these two schools and compares their viewpoints. https://el.itaihe.ac.ir/article_716967.html One of the fundamental foundations of defining Islamic art and architecture is the concept of sacred art. This research introduces Islamic architecture as sacred art proposed by thinkers and founders and discusses the efficient cause and the artist’s role in sacred art and architecture. The main question of this research is: How does the explanation of Islamic architecture as sacred art define the architect's role, what conditions and duties does it delineate for him, and how does it interpret his will in creating an architectural work? The research employs a qualitative and mixed-method approach, including literature review, content analysis, and comparative studiesIn a general review, two predominant views were identified to explain the artist’s role. The first and common view, posits that Islamic art is aligned with the descending process of creation, independent of the artist, and based on the vitality and willfulness of Islam and Islamic art. The second, less discussed view, emphasizes a return to a singular origin, arguing that mere adherence to traditional patterns is insufficient for sacred art. Instead, it highlights the importance of the artist's journey and personal authenticity. In this context, the role of the architect's will, love, motivation, and choice in adapting his design to time and place, while remaining faithful to the mission and sacred goal of Islamic architecture, alongside adherence to tradition and laws, is a significant and prominent role that has been less addressed in theoretical studies of Islamic architecture as sacred art and requires further elaboration. https://el.itaihe.ac.ir/article_712104.html The problem of evil, which has been repeatedly considered by many Western and Islamic thinkers and from different perspectives, has always been one of the most challenging mental problems of humanity. Islamic philosophers believe that evil is relative. There are two types of definitions for evil: Conceptual definition and example definition. Among the paintings in which examples of evil can often be recognized, there are paintings related to illustrated in Falnama, more popular during the Safavid period, were books for predicting and determining the fortunes and misfortunes of affairs. Good and bad fortune telling is based on a randomly selected picture containing the subject and pictorial symbols of good or evil.The present research aims to identify the manifestations of evil in the pictures of Tahmasbi's dispersed Falnama based on the opinions of Islamic thinkers. The research method is descriptive-analytical, and the comparative method is used in data analysis. The collection of information is in a library way, and it is in response to these questions: How are the examples of evil shown in the pictures of dispersed Falnama? Moreover, what was the basis of the ruling thinking on drawing the examples of evil in the illustrations of dispersed Falnama? The results show that the examples of evil that appeared in Falnama are based on the opinion of Islamic thinkers. Based on natural, moral and supernatural evil are formed and compatible with them, and the images of supernatural evil are different from other beings and even other types of evil. https://el.itaihe.ac.ir/article_716973.html انگلیسیsimile is one of the most important elements of rhetoric and at the peak of rhetoric , has long been considered by researchers of literary texts .in this regard , one of simile which has been studied is a kind of simile which , although it is called simile , but in the first glance and appearance of word , instead of mentioning the similarity between two or more attributes ( the likened and the tenor ) in one or more attributes ( the quasi - one ) , the negation of similarity is one of them and the appearance of negation .this kind of negative simile in the words of ali al - السلام has been used in the نهج .thus , by induction all cases of negative simile in the البلاغه , and their analysis by analytical and inferential methods , it is concluded that the negative simile , although it appears in negation of simile , has been formed in two parts .the first and hidden part of it is an analogy which is formed in the mind of the audience and the second part and its appearance is negation of absolute similarity . https://el.itaihe.ac.ir/article_716968.html Iraq is an ancient land that was the focus of Muslims at the very beginning of the conquests, and the first Islamic cities such as Kufa and Basra were built there. In the 4th to 6th centuries of Hijri, coinciding with the rule of the Abbasids, Iraq, especially Baghdad, as the capital of the caliphate, enjoyed considerable prosperity and remained at its peak for several centuries and became a guiding light for a large part of the world. Social diversity took place in the field of Muslim social life, including attitudes and beliefs, lifestyle, social language, religion, and customs. In other words, during this period, the Abbasid government presented the most brilliant scientific and civilizational achievements to humanity. The works of Slimi found in Samarra can be divided into two main parts: carving and plastering. Although patterns have been found on pieces of pottery, for example, which have geometric designs with a slight indulgence of slimy, but most of the art and experience of the masters of this period in Samarra are imprinted on wood and plaster. In the arrays of residential houses in Samarra, what is very important from the point of view of Islamic wisdom are Islamic motifs. The subsequent use of these motifs in the Islamic world from Andalusia to India shows their Islamic face. It is speculated that these motifs were created due to jurisprudential pressures and aversion to images and depictions of living beings. https://el.itaihe.ac.ir/article_716969.html "Promised expectation" is one of the concepts that have been prominent in the poetry of some ideological poets for a long time. After the victory of the Islamic revolution, religious and religious poets took on the responsibility of accepting and promoting the concepts of Mahdism. Alireza Ghazveh is one of the committed contemporary poets, who in some of his poems has explained the philosophy of waiting for the promise and by using the unifying elements and techniques of the text, he has reflected his Shiite beliefs and ideas in the mirror of his poems. In this research, with the descriptive-analytical method and using library sources, the unifying factors of "expectation poems" and the proportion and contradiction of images and fantasy clusters in several poetry collections of Alireza Ghazveh were extracted and analyzed. The results showed that in the poetry collections "Ghatār-e Andimeshk, Eshgh alaih-e salam and Sobh-e banaras" the cohesive factors - along with other poetic meanings and themes - due to the poet's use of techniques such as deletion, repetition of words, synonyms, song and harmony, etc have a high frequency. The harmony of the elements of Alireza Ghazveh's poetry adds to the promotion of his religious teachings and the order and proportion between the concepts makes the poet do justice to the content in a worthy way and this harmony gives unity and integrity to the thought expressed in his poem. https://el.itaihe.ac.ir/article_716971.html Paying attention to individual and social ethics is one of the main pillars of educational literature, which has been presented in different ways in literary texts. A part of it includes Persian and Arabic proverbs that are considered in prose and poetry texts. Proverbs can be introduced as a reflection of people's morals, which over the centuries, poets and writers have used them in their works to educate people and praise good morals and condemn bad behavior and character. In this article, in a descriptive way and with a library study, prominent prose texts from the 5th to the 9th century of Hijra have been examined from the perspective of individual and collective ethics. The results of the research show that according to the content of the works, the authors have given importance to the foundation of the family in the society, human relations with their own kind and individual ethics by mentioning Persian and Arabic proverbs. The main themes of the examples are the importance of family foundation, efforts to obtain life capital, friendships in society, kinship and social relationships of people, as well as marriage and respect for marriage, maintaining kinship and friendship and economic prosperity, advice to tell the truth, Forgiveness, like-mindedness, respecting the right of friendship have been recommended, and on the other hand, criticizing people, not being fair in friendship, disrespect and not helping one's fellow man have been condemned. https://el.itaihe.ac.ir/article_716965.html Abstract: Considering the relationship between art and science is as old as the history of the philosophy of art. although exploring the relationship between art and knowledge by presence or correspondence has been ignored by the western philosophies (since they either don't believe in such a division or are not concerned about it), in recent year, some of the Iranian authors in the realm of wisdom and art have put forward such a relationship, and by quoting some of the western philosophers about the art and intuition, have claimed that the art is exclusive to knowledge by presence and that " there is no knowledge by correspondence in the art". In addition, this approach considers the instruments knowledge by correspondence, including logic, useless, and, intentionally or unintentionally, has led to some problems and, therefore, some objections. Collecting data based on document and library research and using content analysis, the present study criticizes the given viewpoint. In addition, considering the importance and the status of the knowledge by presence within the field of human knowledge and art production, we will point to the role and importance of knowledge by correspondence and, hence, the tool of logic in the field of art and at research and interpretations. https://el.itaihe.ac.ir/article_717122.html Every culture and civilization has its own set of signs and symbols. These signs in themselves represent that which has shaped the culture, the spirit of life of the people of the society and the ruling system in its entirety. In Iranian-Islamic culture, there are no shortage of such signs; One of these symbols is the "Claw of Khyber"; which came to the fore in the version of Sultan Ahmad's horoscope in the early 17th century AD, the purpose of this research is to identify the hidden layers in the image of the Khyber paw or the hand of Fateh Ali ; In order to achieve such a goal, the question arises, "What symbolic concepts does the Khyber claw image have?" The findings with documentary studies and descriptive analytical method show that after the emergence and spread of Islam, the symbol of the hand continues to survive due to its spiritual history; "Hand" has always been an important organ in Islam and is considered a sign of openness, forgiveness, kindness and prayer. What separates the Khyber claw or the hand of Fateh Ali from other common symbols is its reliable connection with spirituality and especially the precious religion of Shiism. In addition to the theme of the painting, this importance is formed in its motifs. In other words, with the spread of the Shia, this symbol has been widely used as a legacy of the elders of the Shia and to pay attention to the five sons of Al-Abba. https://el.itaihe.ac.ir/article_717123.html For many centuries, mystical literature, as a manifestation of verbal art, has been a source of inspiration for the man in the days of deprivation due to his separation from his Lord and led him to the valley of true love and devotion. This type of literature has led many poets to be inspired by this heritage due to its vast capacity to express symbolic and mysterious facts and as a rope, it has linked the former nobles with the future contemplators. This paper aims to study the function of the elements of theosophical khamriyeh in the ode "Spirit wine with the song of love" composed by Dr. Sayyed Amir Mahmoud Anwar, which has been composed in the description and response to Ibn Farez' khamriyeh; to illustrate how these elements are represented and described in this work. The research method is descriptive-analytical and the findings indicate that the poet, while translating and accurately describing the Khamriyeh of Ibn Farid and explaining the mystical concepts in this poem, With the language of art, he has praised the family of infallibility and purity (peace be upon them), and attributed the description of some of the elements of the mystical wine, such as the Cup-bearer, Cup, Wine and its descriptions to them and their loyal companions, thus he used these elements to express his religious intentions. https://el.itaihe.ac.ir/article_717607.html To understand and analyze contemporary Islamic fashion, it is essential to note that today’s Islamic countries operate within several fundamental paradigms, including Islamism, globalization, and antiquarianism. These paradigms have significantly influenced the identity and lifestyle of young Muslims, leading to new interpretations of Islamic attire in various societies. This study primarily aims to examine the degree of alignment between prevalent Islamic fashion styles and the Quranic criteria concerning dress. Accordingly, data were collected through content analysis of various samples in Islamic fashion, including Islamic fashion consumers, designers and brands, experts and researchers in the field, and Islamic cultural organizations. Using qualitative content analysis, the criteria of modesty, hijab, and Islamic fashion, derived from Quranic verses, were compared with contemporary Islamic fashion trends worldwide.The quantitative results indicate a significant discrepancy between Quran-based Islamic attire and the current Islamic fashion trends in various countries, particularly in Western societies as well as in some Islamic countries. These findings reveal a gap between Quranic values, such as the concepts of modesty and hijab, and the contemporary tendencies in this domain, which emphasize consumerism, luxury, identity, and culture in dress. These insights could serve as a foundation for reforming and guiding Islamic fashion, benefiting designers and practitioners in the modern Islamic fashion industry. https://el.itaihe.ac.ir/article_732179.html The subject of artistic creation has always been discussed by scholars and philosophers, so that most scholars has translated itas the creativity and new creation. they didn’t see the creation only as creating something; creation in their eyes is the act of aesthetic and artistic work. creativity was considered from two epistemological and ontological perspectives, and the concept of human creativity and artistic creativity in Transcendental wisdom is examined.Considering the fact that Mulla Sadra's philosophical doctrine was embodied in the works of his time, and in particular the architecture of that period, for a better understanding of creativity in architecture, Mulla Sadra's perspective is used. The findings show that from the perspective of Mulla Sadra, the words "creation" and "Innovation" are two key words and represent two different levels of creativity: “creatio ex materia” and “creatio ex nihilo”.accordingly, human creativity is considered in two general levels of "Conventional creativity" and "transcendental creativity".For the purposes of the research, the functional and physical aspects of AghabozorgMosque, as a quantitative geometric (constructive) structure, and the spiritual and semantic aspects (transcendental creativity) of it, are investigated.As a result of the manifestation of conventional creativity, the presentation of the body and matter appears in the form of works of art and architecture, and the architect needs a sensible perception force to accomplish this;And transcendental creativity embodied in the field of content and dependent on the level of the architect's soul, the richness of the treasury of meaning and the forces of intellectual perception in him. https://el.itaihe.ac.ir/article_732185.html The study of iconography in Iranian and Ottoman painting is full of works in which artists have used various methods to depict the faces of the pure Imams and saints. The halo of light has appeared in the paintings of different countries, and the use of this element for religious figures is among the cases that are abundantly seen in the paintings of the two lands. The aim of this research is to identify and compare the halo of light in the paintings of Falnameh Tahmasbi and Siran-Nabi in the image of the Prophet (PBUH). Now the question arises: in what ways has the symbol of halo of light appeared in the paintings of Falnameh Tahmasbi and Siran-Nabi in the image of the Prophet (PBUH)? What are the similarities and differences of halo of light in the paintings of Falnameh Tahmasbi and Siran-Nabi? The method of conducting the present research will be descriptive-analytical. The results show that Ottoman painting has been significantly influenced by the achievements of Iranian painters, including the fact that Ottoman painting has been largely influenced by Safavid painting in using the veil and covering the face of the Prophet (PBUH) and drawing a luminous halo for him. Ottoman illustrators tried to distinguish the main character of the subjects in the Naskh painting by adding visual elements, which can also be considered influenced by Iranian painting and under the influence of Shiite supporters as well as artists with Shiite thoughts https://el.itaihe.ac.ir/article_732186.html یکی از عناصر نگارش در متون داستانی و تدوین فیلم نامه، ایجاد کشمکش در قالب خلق درگیری و به صورت مشخص، ایجاد کنش و واکنش بین شخصیت های داستان است. از سوی دیگر، در تحلیل انعکاسی متون دینی، شناخت مسئلگی متن، نقش مهمی در واکاوی و تحلیل متن دارد؛ به گونه ای که بی‌توجهی به جنبه مسئلگی متن، موجب ایجاد سوء تفاهمات جدی در درک معارف و مفاهیم دینی خواهد شد. «مسئلگی»، می‌تواند از این جهت موضوع مشترکی بین حوزه هنر و زبان شناسی باشد؛ از سویی در زبان شناسی، سطح درک معنا از متن را ارتقا دهد و از سوی دیگر در هنر به تاثیرگذاری یک اثر هنری بیفزاید. مقایسه عوامل ایجاد مسئلگی در متن دینی و روش های خلق کشمکش در ادبیات داستانی، این نتیجه را در پی دارد که با توجه به محوریت مخاطب به عنوان عنصر مشترک در مسئلگی و خلق کشمکش و تمایز این دو در ذاتی بودن یکی و خلق کردنی بودن دیگری، همه ابزارها و عوامل خلق کشمکش، در حقیقت بازتولید شده همان عوامل ایجاد مسئلگی در متن است. https://el.itaihe.ac.ir/article_732187.html In various religions and philosophical traditions, the concept of celestial beings and elements has been defined. Angels or celestial beings hold a specific place in the realm of metaphysics. In the Quran, God mentions several types of angels, each assigned with specific duties. In Zoroastrianism, each element of the natural world has an associated angel that manages it. In Islam, specific angels are defined for important affairs, and they are considered among the close angels.Due to their singular existence, angels lack the ability to oppose the command of God and are perpetually engaged in praising and fulfilling their duties. This research explores the educational aspects of Persian literature with the aim of understanding the role of angels in didactic works. The research findings indicate that in educational literature, angels are often perceived from a moral perspective. Angels, as pure beings in contrast to demonic entities like devils and demons, serve as a benchmark for human purity. Additionally, in relation to the archangels – Gabriel, Michael, Israfil, and Azrael – their defined functions are discussed, and various perspectives on their roles are explored. https://el.itaihe.ac.ir/article_732188.html حکیم نظامی گنجوی در قامت یک هنرمند، به زبان شعر و در لباس استعاره سخن می گوید اما در عین حال مسائل حکمی و فلسفی را درآثار مختلف خویش هنرمندانه مطرح کرده است. به عنوان مطالعه موردپژوهانه، در بخش دوازدهم منظومه خسرو و شیرین پنج گنج حکیم نظامی عشق را کششی در طبایع خوانده و قوام آفرینش را بسته به آن می‌داند.این تعابیر نشان می دهد حکیم گنجه قائل به معنایی از عشق است که در همه طبایع، به واقع در همه اجزای هستی جریان دارد. در این مقاله با روش تحلیلی-تطبیقی با رویکردی تبارشناسانه ریشه یابی می‌کند که همه عاشق انگاری در جهان بینی نظامی یک تخیل شاعرانه صرف نیست، بلکه بازتابی خلاقانه ازآرای حکیمانی چون ابن‌ سینا و شیخ اشراق است. بوعلی از عشق دو تعریف آورده که یکی تنها بر اساس کمال است و تعریف دیگر علاوه بر کمال، مبتنی بر ادراک است. بنا بر تعریف نخست، هیچ موجودی از شمول عاشقی بیرون نیست، هر چند بیش‌تر اشیا به عشق خویش عارف نیستند. این عشق شامل دو گونه عشق طبیعی و ارادی است. عاشقی در تعریف دوم به موجودات ذی شعور اختصاص دارد. شیخ‌ اشراق نیز به تعاریف ابن‌ سینا وفادار و قائل به عشق فراگیر در دو گونه ارادی و طبیعی است و با زبان نمادین عشق عقلی را به تصویر کشیده‌ است. بنابراین عشقی که در همه اجزای عالم سریان داشته باشد در آرای فلسفی بوعلی و سهروردی ملاحظه شده است. https://el.itaihe.ac.ir/article_732189.html Nima Yushij is the initiator of artistic symbolism in contemporary poetry. After him, the third Akhavan -e- Sales also followed the same path.. After him, the third brotherhood also followed the same path. Sohrab is also a symbolic and introverted poet. One of the valuable issues considered by poets is the discussion of savior and expectation. The symbol of the savior in the poems of the noted poets can be checked in two ways: direct and indirect reference. Dependence on nature has created natural symbols in their poetry. Natural symbols are derived from the unconscious contents of the poet's mind. Natural phenomena such as trees, rivers, flowers, plants, sun, drops, night, day, sun, and rain have been used in their poetry with symbolic use. Among the unnatural phenomena, he pointed out lights, bells, lanterns, boats and jerseys.Birds and animals such as chickens, Amen chickens, phoenixes, karaks, kek ki (bulls), darugs and other creatures contribute to this symbolism. All three poets have become the people in charge of good news in their poetry. This type of evangelism expresses a kind of social mission to wake up the heedless people. In this research, how to use Manji's artistic symbols; and it is shown; What symbols have the noted poets used for the savior. https://el.itaihe.ac.ir/article_732190.html این مقاله با روش توصیفی تحلیلی و مطالعات اسنادی به تجزیه و تحلیل چهارآینه‌ای می‌پردازد که متعلق به دوره صفوی است و در موزه هنری متروپولیتن نگه‌داری می‌شود. این چهارآینه از چهار قطعه فلز مستطیلی برگرفته از فلزات رنگین و آبدیده تشکیل شده است. در بخش جلوی این سپر، شکل هندسی هشت‌ضلعی منتظمی دیده می‌شود که دایره‌ای را در مرکزش گنجانده است. بر سطح این فلز آیات قرآنی و اذکار الهی را مشاهده می‌نماییم. یافته‌ها با روش کیفی و با هدف شناسایی مفاهیم و نمادهای عرفانی موجود در چهارآینه صفوی موزه متروپولیتن نشان می‌دهد که این سپرها تنها به عنوان محافظ فیزیکی مطرح نمی‌شدند و بازتاب نور نیز هستند و از خونریزی جلوگیری می‌کنند؛ تصویر آینه در اندیشه صوفیانه برای توصیف راه رسیدن انسان به خودشناسی و معرفت خدا به کار می‌رود. در این گونه تشبیهات، آینه به روح تشبیه می شود که انسان از طریق آن به چیزی بزرگتر از خود آگاه می شود. هشت در نزد صوفیان عددی مقدس محسوب می‌شده و البته دایره‌ای که درون آن قرار دارد علاوه بر نماد جاودانگی با اشعه‌های تعبیه شده در اطرافش نمود خورشید و نور ازلی را درپی دارد، آیات قرآنی نقرشده با رنگ نمادین طلایی بر بخش مرکزی این اثر نیز به بشارت پیروزی به مومنان و پشتیبانی و حفاظت دائمی خدا از آن‌ها توجه دارد. از طرفی اسماء الهی نیز به وجوه نمادین این ابزار جنگی نیز اضافه شده‌اند.واژگان کلیدی: دوره صفوی، نمادهای عرفانی، زره جنگی، سپر، چهارآینه https://el.itaihe.ac.ir/article_732191.html نگارندگان تلاش دارند با روش توصیفی تحلیلی و مطالعات اسنادی تک قطعه قالی دست‎بافتی از این منطقه را که مزین به شمایل امام اول شیعیان (ع) است را با هدف شناسایی لایه‌های پنهان در این قالی تصویری واکاوی کنند و به این پرسش پاسخ دهند که هنرمندان طراح و قالی‌باف چه لایه‌های پنهانی را در این دستبافته به‌کار برده‌اند؟ یافته‌ها نشان می‌دهد که قالی قاجاری مورد نظر، بازتابی بی‌ریا و راستین از هنر دست هنرمندان ستم‌دیده، بی‌نشان و شیفته حضرت علی (ع) است که‌ در مجالس‌ پُرانس‌ مردم عامه، با حفظ ارزش، هنر، مذهب و سنت، پا به عرصه‌ وجود نهاد؛ هرچند که این‌گونه به تصویر کشیدن‌ باورها، از نقاشی‌های خیالی و قهوه‌خانه‌ای و حتی دیوارنگاری آغاز شد؛ اما کم‌کم روی قالی‌ها نیز نقش بست، به طوری که از بستر دیوار و پارچه رها شد و بر تار و پود دستبافته نشست‌ و با‌ چیرگی دست هـنرمندان طراح و بافنده این دیار، روی فرش جانی دیگر یافت، تا همراه اهل دل، در مجمعی حاضر شود و سبب‌ساز نوعی همدلی و هم‌نشینی با گرایشات شیعی زمانه خود گردد. علاوه بر این‌ها باید اعتقاد شیعیان مبنی بر ستم بر آن حضرت در غصب جایگاه امامت و عدم اعتنا به وصیت حضرت محمد (ص) در واقعه غدیر را نیز افزود و این امر حاکی از تکوین اندیشه شیعی و رشد مبانی نظری آن در طول زمان است که از اثر قابل مطالعه است. https://el.itaihe.ac.ir/article_732192.html Islamic art is an art that has been influenced by the religious foundations of Islam and Shiism, and these influences have resulted in the emergence of a new style in art, which has unique characteristics. One of the most influential doctrines on Islamic art is the principle of justice, which is the second principle of Shia belief. The purpose of this article is to find the manifestations of the doctrine of justice in Islamic art, and to understand this, one should search for the meanings of justice in works of Islamic art. The research method in this study is descriptive-analytical, and information collection has been done in a library manner. The results of the research show that among the meanings of justice, two meanings of "balance" and "equality and negation of any discrimination" have appeared in Islamic art. Symmetry, proportion and reflection in Islamic art are examples of the manifestation of justice in the sense of being balanced. In addition to that, equality and negation of discrimination, which is another meaning of justice, has been manifested in the uniformity and repetition of horizontal motifs and works. Therefore, the principle of justice is expressed in the language of "order, balance and proportion", "uniformity", "repetition" and "horizontalism" in Islamic art. https://el.itaihe.ac.ir/article_732193.html In Iranian paintings centered on the theme of the Karbala war in the Qajar period, most of the large works are depicted in natural sizes and with paints and oils, and small and single period works were limited and rare in this period. In this research, a single area of the war between Hazrat Abbas and Yazid's army is discussed; This single patch is in the form of a single leaf and has distinctive features with other paintings in this period, and it documents the differences in style and execution with the paintings of this period. Identifying the general structures of Qajar period painting shows the importance of the author's role in giving meaning to the form or image in social conventions, and the representation of tools is inspired by real war examples. The purpose of this research is to study the structure and introduction of an unintroduced single patch related to the war of Karbala and belonging to the Qajar period, which is depicted with the characteristics of this school in a small size and with the impression of the colors of this period, a realistic representation of war tools in this painting. It is important. The main research question in this article is as follows: What are the structural features of this painting and how is it influenced by real war tools? The research method in this article is descriptive-analytical and qualitative research, https://el.itaihe.ac.ir/article_732194.html Positivist and historicist approaches in Islamic art studies, despite their achievements in analyzing the material dimensions of artworks, have failed to adequately comprehend and interpret the conceptual underpinnings of calligraphy due to their reductionism and neglect of art’s theological functions. By confining meaning to archaeological data, these approaches overlook a fundamental question: whether these works, beyond their apparent utility, held deeper semantic functions for the faithful viewer.The present study adopts a critical-analytical method, moving beyond these conventional frameworks to propose "visual theology" as an interdisciplinary theoretical framework for examining the religious and semantic dimensions of this branch of Islamic art. This approach grounds the analysis of artworks in a dual investigation: on one hand, the intellectual and theological contexts derived from Imami theoretical texts, and on the other, the analysis of the visual characteristics of the work—particularly the representation of the "image" through the "word." The findings demonstrate that a theological reading of pictorial calligraphy necessitates engagement with the theoretical framework established by Erika Dodd through the concept of the "word of image." Accordingly, these works cannot be reduced to mere text or image; rather, they demand simultaneous attention to their theological (verbal content) and iconic (visual form) dimensions. This perspective necessitates a redefinition of iconographic methodologies for this field. From this standpoint, pictorial calligraphy functions as a "sacred object" for the faithful viewer, whose full epistemic dimensions can only be grasped through a simultaneous analysis of both text and its iconic aspect as an inseparable whole. https://el.itaihe.ac.ir/article_732195.html Chalashtor Castle in Chaharmahal and Bakhtiari Province represents a unique integration of Shiite religious symbols with local culture and indigenous rituals. This research analyzes the cultural indigenization process in the imagery of Hazrat Abolfazl (AS) within hunting rituals, examining how local meaning is produced through religious, ethnic, and social code interactions.Research question: How has cultural indigenization in Hazrat Abolfazl (AS) imagery at Chalashtor Castle been formed, and what mechanisms have contributed to local meaning production?Methodology: This qualitative research employs Appadurai's "cultural indigenization" theory, utilizing in-depth interviews with 15 local elders, direct field observation, visual analysis of stone carvings, and historical document examination. Data were analyzed using thematic analysis and open coding.Findings reveal that indigenization occurred in three key stages following Appadurai's cultural flows model: entry of religious ideological flows, interaction with local culture, and production of new indigenous meaning. Hunting symbols and local heroism merged with Hazrat Abolfazl (AS), creating a hybrid identity. This process generated a new religious space rooted in Shiite traditions while addressing local identity needs. Cultural indigenization preserved local traditions and enriched religious concept semantics. These findings highlight the importance of considering adaptive cultural processes in religious heritage and local identity studies https://el.itaihe.ac.ir/article_732196.html The definition of the key term *ghinā* has been extensively discussed in the words of jurists, with a wide range of differing theories presented. Among these, it appears that the Supreme Leader has offered a new definition of *ghinā*, one which, upon careful examination, strengthens the possibility of its being a case of *ḥaqīqat sharʿiyya* (a legally instituted meaning in Islamic law). This is despite the fact that his words do not explicitly state such a claim. Given the significant influence of the Leader’s views within the Islamic system, clarifying the nature of this definition carries added importance.This study, written using an analytical-descriptive method and based on library sources, seeks to answer the essential question of whether the theory of *ḥaqīqat sharʿiyya* regarding the term *ghinā* can be attributed to him. The research concludes that, through a close examination of the Supreme Leader’s approach to defining *ghinā*, and by considering the principle that *ḥaqīqat sharʿiyya* is established when a qualifier is not permanently employed alongside a term, it can be inferred that he regards the word *ghinā* as having a legally instituted meaning, relying on verse 6 of Sūrat Luqmān. The distinctive feature of his definition is the inclusion of the qualifier “that which leads astray from the path of God.” https://el.itaihe.ac.ir/article_732197.html The art of architecture has always provided valuable services to religious culture and has manifested the sacred in symbols and holy places. Fundamental research on the architecture of holy places and their symbols has clearly revealed the intellectual and religious infrastructure of a society and has led to the continuation of religious and cultural beliefs. The sacred symbol of the cosmic pillar, known in Islamic beliefs as the "minaret", with this approach causes distinctions in the architecture of mosques of the two Islamic religions, Shia and Sunni. The present study, with a phenomenological analysis, seeks to examine the foundations of the emergence of this symbol in Islamic holy places and discover the reason for the aforementioned distinction. For this purpose, first, the phenomenology of religion with the approach of Mircea Eliade and then the possibility of adapting it to Islamic teachings was examined to clarify that the minaret of mosques has a cultural function in revealing the holy place and the emergence of ways of communication between earth and sky, and its multiplicity is also rooted in the beliefs and foundations of the two religions. In Sunni religious principles, the path to heaven is limited to the Book of God, which is why mosques are designed with a single minaret; while Shiites consider the Ahlul Bayt of the Messenger of God (PBUH) as a path to heaven, in addition to the Book of God, and for this reason, they use two minarets in the architecture of their mosques. https://el.itaihe.ac.ir/article_732198.html This article is a fundamental research study that seeks to answer the question of whether the stories in the Quran can possess character development elements similar to those found in narrative and dramatic works, both theoretically and in terms of possibility.Addressing this question is feasible within the realm of dramaturgy (the analysis of dramatic components). One of the most critical elements of drama is "character," which is shaped and developed through interaction with the story's flow. Therefore, character development is a fundamental aspect of events in the chain of causes and effects within the story's environment. A narrative lacking character development falls outside the realm of literature and belongs to historical writing.This research emphasizes the literary nature of Quranic stories and presents a multi-layered model of the concept of character development, demonstrating that each prophet, such as Abraham and Joseph, possesses a central character core, an inner layer, and an outer layer of personality. These characters establish meaningful connections with the events of the story. Additionally, the transformation and evolution of characters occur in a manner consistent with their personality traits and circumstances, ensuring that it does not contradict the infallibility and dignity of the prophets. https://el.itaihe.ac.ir/article_732199.html This article aims to present a cinematic interpretation of Surah Ash-Shu‘ara. The content of the surah is divided into three main sections—beginning, middle, and end—comprising 15 thematic units (siyaq). Each thematic unit is considered as one or more sequences, with its verses functioning as individual shots. The three sections align. Act One: The concern of the Messenger of God (PBUH), introduction of the noun pair “Al-Aziz” and “Al-Rahim”. Act Two: The torment of the seven nations in the past, the manner of the revelation of the Quran, the beginning of the painful torment at the end of time; Act Three and the climax of the story: the revelation of the clear book and its implementation by the divine guardian, the emergence of the true leader with his companions, and the final victory. Finally, the cinematic elements of each sequence are analyzed, including: location, rhythm and editing, color, light, and proposed shots.The research method is descriptive-analytical, which is based on the arrangement of verses and thematic unity in the entire surah, the content structure of the surah is examined, and the internal coherence of the verses and the contexts is discovered. Then it is analyzed from a cinematic perspective. The results show that Surah Al-Shu'ara has a coherent structure that allows its analysis as a cinematic work. The aim of this research is to examine the artistic dimensions of the Quran and its role in the development of religious cinema. https://el.itaihe.ac.ir/article_732200.html فقه اسلامی به عنوان یکی از مهمترین بخش‌های فرهنگ و مذهب ایران، تاثیر عمیقی بر جنبه‌های مختلف زندگی مردم از جمله معماری داشته است. حجاب به معنای اعم آن و نه آن چیزی که فقط از حکم پوشش بانوان تبادر می-گردد، فاروق مراتب در دوگانه‌های بیرون- درون، جمعی- فردی، آشکار- نهان است که با هنر معماری ، سیری از دیگران تا خود، از همهمه تا سکوت، و از پراکندگی تا تمرکز، را می‌آفریند و مدخلی برای مفهوم سلسله مراتب حریم خصوصی و گامی به سوی خلوت مورد نیاز انسان و احترام به منطقه آسایش فردی است. برخلاف تصور برخی ، حجاب بعد از اسلام به ایران نیامد بلکه پیش از اسلام نیز وجود داشت. حتی حجاب زرتشتیان بسیار مفصل‌تر بود میل به پوشیدگی از شرقی بودن مردم این سرزمین نشأت گرفته است. محرمیت در معماری و شهرسازی به معنی تعریف فضا به گونه‌ای است که هم از نظر فیزیکی و هم از نظر معنایی دارای مرز و حریم باشد. اصول و قواعد فقه اسلامی در زمینه‌هایی همچون حریم خصوصی، محرمیت، پاکی و طهارت و احترام به حقوق همسایگان نقش مهمی در شکل گیری و توسعه معماری درونگرا در ایران داشته است. نتایج حاصل از این تحقیق به روش تحلیل محتوا، نشان می‌دهد که توافق و تخالف قواعد فقهی در باب معماری حقوق فضایی در کالبد معماری را از حجاب تا خلوت مورد نیاز انسان برای وصول به منطقه آسایش فضایی تامین می‌کند. https://el.itaihe.ac.ir/article_732201.html Magic is a trick or trickery in which a magician, by using special techniques and rapid movements of the hands or other body parts, hides something from the eyes of the audience and amazes them. The development of civilized societies and the expansion of media and social entertainment are among the factors that make it necessary to analyze the concept and ruling of this title. The lack of clarity about the nature of magic and its types and the presentation of multiple definitions of this concept have caused some linguists, commentators and jurists to consider magic as a type of magic, while others have emphasized the conceptual distinction between magic and magic. Famous Imami jurists, relying on consensus, have considered magic to be forbidden in general terms.In this study, an attempt has been made to answer the question, using a descriptive-analytical method and using documentary sources, on what evidence was the famous ruling on the prohibition of magic issued and whether this evidence has the necessary power to prove this ruling or not? Following this fundamental question, other subsidiary questions have been addressed, such as explaining the nature of magic and distinguishing it from sorcery, and re-examining the validity of the evidence for its prohibition. The violation of minor and major principles in the generalization of the prohibition of entertainment, the conceptual discrepancy between magic and sorcery, and the possibility of its being documentary are reasons that prevent the acceptance of this famous jurisprudential ruling https://el.itaihe.ac.ir/article_732202.html Islamic art, as a rich cultural heritage, is the result of the interaction between Islamic teachings and various traditions within the realm of Islamic civilization, manifesting in forms such as architecture, calligraphy, and geometric decorations. The definition of this art has always been a topic of discussion due to the diversity of viewpoints and historical and cultural influences. Historians consider Islamic art to be dependent on historical conditions, while sociologists view it as a product of social, economic, and political structures. These approaches highlight different aspects of the nature of Islamic art. This research aims to examine the concept of Islamic art from both historical and sociological perspectives, relying on the views of Afif al-Bahansi and Frederick Matouk. The goal is to uncover the distinctions and overlaps between these two approaches in defining Islamic art. The research method is descriptive-analytical-comparative, reviewing library sources to analyze the theories of the two thinkers. The findings indicate that Islamic art can be analyzed both as an extension of pre-Islamic artistic traditions and as a new phenomenon arising from the intellectual transformations of Islam. While al-Bahansi emphasizes historical continuity, Matouk focuses on epistemological breaks, both agreeing that Islamic art reflects a monotheistic worldview and profound spiritual concepts. https://el.itaihe.ac.ir/article_734034.html Kierkegaard considers suffering to be a deeply internal experience that stems from man's effort to pass through the aesthetic and then the ethical stages and reach faith. This path relies on components such as individualism, passion, and hiddenness. In the possibility that a person is confronted with the absolute, he experiences paradox and existential suffering that results from its silence and incomprehensibility. Faithful suffering is the result of becoming or becoming possible. The present study explains that although cinema is not capable of directly representing the sacred and the ultimate faith, it can approach the perception of the existential dimensions of faithful suffering by depicting these components and the suffering that results from it. Therefore, the present article, with a descriptive-analytical approach and based on library studies, analyzes how faithful suffering is represented from the perspective of Kierkegaard's philosophical theology in existentialist cinema. Finally, the findings of the article show that the perfection of every faith experience lies in silence, and existentialist cinema, by focusing on how these components and the suffering associated with them emerge, although it cannot depict it, can contribute significantly to explaining this profound experience through Socratic irony, myth, and allegory, and the representation of the components. https://el.itaihe.ac.ir/article_735005.html he influence of visual perception is vast, significantly shaping human insight due to its formal and physical structure, its intimate connection to the brain's mental processing, and its profound impact on various dimensions of thought. The central objective of this research is to examine the nature and quality of the insight possessed by Hafez. As a unique personality in Persian mystical literature, he embodies a comprehensive and profound vision operating on multiple levels. It seems the artistic dimension of his character deepens the sensible aspect of his gaze, while his mystical essence deepens its intelligible dimension. Consequently, this study's central question is: what are the dimensions of Hafez's insight—considering these sensible and intelligible aspects—and how can it be elucidated? Hafez's own description of his visionary structure, his verses, demonstrates that all facets of his sight—both sensory and supra-sensory—are governed by the absolute, unified Beauty of existence. His eye is likened to a splendid garden, within which all elements of its creation and sustenance are gathered in the unifying unity of the Beloved's countenance. According to the poet's, the eye's very architecture, the components essential for its supreme function and visual acuity, and the means for the elevation and refinement of vision—as well as the scope, depth, and penetrative power of insight into the world—all reside under the dominion of His will, perfection, beauty, and majesty. This forges an insight utterly unified with the singular countenance of the one Truth, becoming entirely transformed into "That." https://el.itaihe.ac.ir/article_735006.html With recognition of Christianity by Constantine the Great, the church governed the political and social affairs with responsibility and monasteries were established in order to do cultural and religious purposes. The monasteries produced manuscript to preserve religious thought. The process of manuscript’s illumination continued with the artists with special styles and intricate decorations, in spite of limitations in subject of illustration. In addition to religious stories, folk subjects entered in manuscript’s illumination in the late middle Ages. The Tres Riches Heures du Duc de Berry is the most famous and possibly the best surviving example of Scholasticism in Middle Ages. The ideas of about the light and clarity, integrity and proportion are evident in this book. The aims of essay are comparing Aesthetic in illustrations on the base of Aquinas theories and studying of his Theology in motifs and colors in Tres Riches Heures du Duc de Berry. The hypothesis is about amount of inspiration from Aquinas knowledge in portraits. So, this paper explains constant harmony between the illustration and religious thought. The ingeniously method of artist has been explained with helping colors and visual elements.