درخت حوزه‌های تخصصی

The Khafīfīyya Order is attributed to Ibn Khafīf, Sūfī of the fourth century AH (882/982) who lived in Shiraz. The concepts of Absence ( ghaybah ) and Presence ( ḥoḍūr ) are central ideas in Ibn Khafīf's school. However, the existing literature provides only a brief mention of this attribution to Ibn Khafīf, the founder of the Khafīfīyya Order. Given the lack of in-depth study on Ibn Khafīf's social approaches, this article seeks to elucidate the significance of mentioned ideas within Ibn Khafīf's intellectual framework and expound on the interpretation of their meanings. This research adopts Chandler's semiotic approach to delve into the ideas of "absence and presence" within context. The findings of this study reveal that Ibn Khafīf endeavored to show isolation and seclusion as different and sometimes even contradictory acts of abstinent ( tark ) from worldly matters.

Rick Abad Tepe is located north of the Zab River in Northwest of Iran, close to the border with Iraq. The excavation at this archeological site was carried out in the summer of 2019. The materials and evidence obtained from there showed Rick Abad belonged to the Bronze Age, with some monuments not documented yet from any site in the Zab Basin. The Tamarchin passage, west of Piranshahr, connects this region to northern Mesopotamia. This research tries to respond to the following questions: What was the status of Zab Basin settlements in the Bronze Age? How was the regional and extra-regional communication with the surrounding areas? As a matter of fact, seven levels belonging to the Bronze Age were identified in the course of the excavation. In the south of Lake Urmia, Kura-Araxes potteries were less visible; however, typical black-burnished ceramics similar to those of the Kura-Araxes tradition were recovered from some sites. Surprisingly, Painted Orange Ware (POW) and beveled-rim Bowl were seen in the early Bronze Age of the Zab Basin. Furthermore, the impression of the seal from Rick Abad is remarkable as well since this type of object had an administrative function and it is a sign of economic and social activities as well as regional and extra-regional relations. The location of this region between northwest of Iran and the north of Mesopotamia (Iraqi Kurdistan) somehow turned this basin into a meeting place of various cultures. Probably these sites played a key role in trade and commerce, although, they never attained an urban status.  

Light and color are effective factors in the creation of works of art, which, as the most immaterial element of nature, have always been influential in Iranian Islamic painting, and in fact, they represent the sublime world and spiritual atmosphere Also, the research about light and color in painting and its impact on painters and its contribution to the scope of expressing the influence of mysticism in the whole Islamic culture and art is at the starting point certainly knowing and understanding the three words mysticism, light and color and finding their meaning and meaning in a symbolic way is not only effective in better understanding Iranian and Islamic painting, but also our insight in understanding the Islamic ideas that are rooted in mysticism and Sufism and It also makes the behavior smoother. Colors have a chemical aspect in art, and mixing them is an art similar to alchemy. The main concern of this research, which is presented in an analytical way, is aesthetics and investigating the mystical aspects of paintings and motifs in Islamic civilization in Iranian art and architecture. It seems that Islamic art and architecture tries to manifest God's unity among colors, forms, lights, and sounds. Each color has a special allegory and a relationship with one of the inner states of man and soul. Color is an important factor for spiritual use in the painting effects of Islamic architecture. Mosques in the Islamic world usually use turquoise green and blue colors. Blue and turquoise colors are the main background colors of walls, tiles, altars, domes, and courtyards and along with the golden color in Iranian Islamic paintings, among other colors, they have a special shine and effect. These colors are manifestations of the inner meanings of colors. The colors of turquoise, green and white, which are symbols of nature's sky and divine light, respectively, are mixed together and add to the majesty of the mosques. The colors that result from the radiation of light are a symbol of the manifestation of unity in multiplicity and the dependence of multiplicity on unity. The reflection of the existence of colors in Iranian art shows an extraterrestrial truth outside the world of the senses, rather than imitating the surrounding natural colors. Vigilance and accurate insight in the arrangement of colors and the correct selection of each color refers to a symbolic concept of colors and their mutual effects that permeate the human soul and spirit.

In the 1980s, Polish researcher Maria Składankowa promoted in her publications a theory stating that the representatives of the Sistani family described in Ferdowsī's Šāh-nāma were reflections of the rainy and sunny steppe shamans. The four main representatives of this lineage were said to alternately represent these particular shamans beginning with the primordial and rainy shaman personified by Sam and ending with the solar shaman in the form of Sohrab. Another rain shaman according to Składankowa was to be Rostam. This article aims to introduce Składankowa's theory to the international research community and to subject it to verification. The battle between Rostam and White Dīv, which was the seventh trial in Rostam's cycle of seven trials, was used for verification. This is a clash between two national heroes and the circumstances of this battle blur the boundaries between what is commonly understood as good and as evil. Thus, this is an example that perfectly demonstrates Składankowa's theory of rejecting religious notions of good and evil and focusing on the primeval connection between man and nature when it was man's greatest ally and enemy. Neither Rostam nor White Dīv, according to Składankowa's theory, are therefore completely good or completely evil, like any element of nature, which can be a life-giving or destructive force. Identified with good forces, the sun warms the earth and causes vegetation but can also cause drought and the death that follows. Identified with evil forces, rain can cause floods, but without it, vegetation will die. There is no absolute good or absolute evil in nature. Nor is there one in the battling Rostam and White Dīv. Ferdusī's description of this combat in Šāh-nāma clearly goes back to this primeval myth leaving the story universal.