دانشگاه بین المللی سوره رهپویه حکمت هنر 2980-812X 4 2 2025 09 23 A Mystical Reading of “Drowning of the Bearded Man” Painting Based on Yaqzah (Awakening) Concept from the Perspective of Khwaja Abdullah Ansari خوانش عرفانی نگاره غرق شدن مرد ریش‌دار با استناد بر باب یقظه از منظر خواجه عبداللّه انصاری 7 22 722693 10.22034/rph.2025.2050866.1098 FA فاطمه غلامی هوجقان دکتری تخصصی تاریخ تطبیقی و تحلیلی هنر اسلامی، گروه مطالعات عالی هنر، دانشکده هنرهای تجسمی، دانشگاه تهران، تهران، ایران. 0000-0002-6249-1568 حسن بلخاری قهی استاد، عضو هیئت علمی گروه مطالعات عالی هنر، دانشکده هنرهای تجسمی، دانشگاه تهران، تهران، ایران. 0000-0002-6304-4815 مینا صدری دانشیار، عضو هیئت علمی گروه نقاشی و مجسمه سازی، دانشکده هنرهای تجسمی، دانشگاه تهران، تهران، ایران. 0009-0005-6120-0422 Journal Article 2025 01 16 Farid al-Din Attar Neyshaburi is one of the most prolific poets in the Persian language. His works, especially <em>Mantiq al-Tayr</em>, translated into various languages, have many admirers from all over the world. Attar himself acknowledged the sweetness of his words and pen, and he admitted this about <em>Mantiq al-Tayr </em>in specific. On the other hand, <em>Mantiq al-Tayr</em> is one of the most cited texts in literary research, and illustrated manuscripts inspired by it are also among the most cited research works in the field of artistic research. In this research, the <em>Mantiq al-Tayr</em> preserved in the Metropolitan Museum, which is significant due to Kamal al-Din Behzad’s participation and supervision over some of its illustrations, has been studied because of its high-quality artistry and the skillful incorporation of profound mystical points within the realities of everyday life.<br />On the other hand, Khwaja Abdullah Ansari is one of the great mystics and ascetics of the Khorasan region who, with his monumental work <em>Manazil al-Sa’airin</em>, has provided valuable services in the path of practical spirituality for the seekers of the right way. In this book, he has explained all the stages of the spiritual journey step by step and has scrutinized its dos and don’ts. Using his experiences and beliefs, Abdullah Ansari has presented a specific interpretation of how to achieve <em>Yaqzah</em> (Awakening). Regarding the problem solving, which is a characteristic of the cognitive approach, and also using reasoning, analysis, and division; he has examined the issues and solved the problem of reaching the <em>Yaqzah</em> (Awakening). His goal is to adapt to internal actions such as gratitude for blessings, recognition of shortcomings or, in other words, reviewing one’s own performance and fearing the deceit of others. For this purpose, Abdullah Ansari takes his disciple forward step by step. Therefore, the gradual nature of Islamic mysticism is very important; that is, until a disciple passes through one stage, no other stage will be presented to them.<br /><em>Yaqzah</em> in its literal sense means “awakening” and stands in contrast to sleep. In Islamic mysticism, it refers to the state of awakening from the slumber of heedlessness, leading to awareness and attention toward the path of divine proximity and spiritual journey toward God. <em>Yaqzah</em> is considered the first light that illuminates the heart of a seeker, marking the beginning of true spiritual life with the radiance of awakening and mindfulness. The spiritual guides regard<em> Yaqzah</em> as the initial condition for entering the realm of spiritual wayfaring, or, in essence, the first station on the path toward God. At the moment of death, all individuals witness the realities of existence and the insignificance of worldly matters, as well as the grandeur of the realms beyond death. They also realize the immense right that the God has over them, a truth that often remains neglected during their lifetime. For a seeker, this awakening occurs at the very first step of their spiritual journey. They become conscious of truths that are typically unveiled for others only at the time of death. This newfound awareness prompts them to value the remaining time in their life and strive earnestly toward attaining closer proximity to God.<br />Regarding humans as well, if their inner eye opens while they are still in this world, meaning before their departure, the same meaning applies. Imam Ali (peace be upon him) emphasizes this concept, stating that one who possesses an inner moral guide is granted divine protection. He further explains that when God seeks goodness for a servant, He places such an admonisher within his heart. Hence, the catalyst for awakening is this very inner guide, an intrinsic force that calls individuals to move and journey toward God. According to a prominent mystic, Abdullah Ansari, <em>Yaqzah</em> consists of three components: directing the heart’s attention to divine blessings, reflecting on one’s sins, and recognizing the immense value of one’s lifespan.<br />Applying a descriptive-analytical approach and using library resources (real and virtual), this study has analyzed the subject in a qualitative manner. On this basis, by selecting a painting from the Herat School of <em>Mantiq al-Tayr,</em> “Drowning of the Bearded Man”, it has analyzed and interpreted all the visual and written elements of the painting and examined the relationship between <em>Yaqzah,</em> or awakening, as the first stage in practical mysticism, with the overall story of the painting and the way the characters in the story have operated, which may have been intended by the artist. It should be added that this study aims to address issues that have so far been neglected or that have not been adequately addressed by the researchers.<br />According to the conducted studies, it was determined that many of the concepts intended by Khwaja Abdullah Ansari are evident among the positive characters in the painting: paying attention to the countless blessings of God, looking forward to God’s blessings, taking a lesson from the people of affliction, recognizing the greatness of God as the most important way to avoid sin, realizing the soul as the root of contamination with major and minor sins, acknowledging God’s punishment in the hereafter as a way to reduce sins, understanding the profit and loss of the days of life, avoiding idleness, and taking advantage of the remaining life and the company of the righteous.<br />On the other hand, the things that the negative characters in the picture have been drawn to and have suffered loss from are as follows: not paying attention to the inner preacher (reason), not noticing to divine mercy and the unseen, not valuing the truth, not recognizing the self and not acknowledging the promise of the truth, not listening to knowledge, not responding to the calls for respect and not associating with the righteous, not studying sins and not honoring the truth, not realizing the value of the precious life, not making up for what has been lost, not taking a lesson from the plight of those in calamity, and leaving the company of the righteous.<br />In summary, the study of the painting demonstrates that Behzad and Sultan Ali were highly successful in conveying the message in the depiction of the drowning bearded man. The themes in Attar’s poetry emphasize self-awareness, renouncing worldly attachments, and learning from the plight of those who suffer. Behzad skillfully captures these concepts by portraying a bearded man in the act of drowning, symbolizing neglect of mindfulness and awakening at the beginning of spiritual practice. Sultan Ali further reinforces these ideas by inscribing Attar’s poetry, highlighting the profound meanings embedded within from the perspective of the Elder of Herat. Ultimately, the painting provides an allegorical representation of Attar, brought to life through Behzad’s depiction of the bearded man effectively illustrating a lack of awakening from heedlessness and inattentiveness to the path toward God. منطق‌الطیر عطار ازجمله متون پراستناد در پژوهش‌های ادبی است و نسخ خطی مصور ملهم از آن نیز در صدر آثار پژوهشی پراستناد در حوزه تحقیقات هنری جای می‌گیرند، فلذا در این پژوهش منطق‌الطیر محفوظ در موزه متروپولیتن که به سبب مشارکت و نظارت کمال‌الدین بهزاد بر برخی از نگاره‌های آن حائز اهمیت بوده، مورد پژوهش قرار گرفته چراکه از کیفیت بالای تصویرسازی برخوردار بوده و نکات نغز عرفانی در لابه‌لای واقعیت‌های زندگی روزمره به صورتی ماهرانه گنجانده شده است. ضرورت تحقیق حاضر به دلیل وجود ارتباط‌های پیدا و پنهان میان متون عرفانی و حکمی ایران اسلامی با نگارگری ایرانی است که کشف این روابط می‌تواند در باز کردن گره‌های پژوهشی به صورت صحیح و علمی مفید فایده واقع شود. در پژوهش حاضر سعی شده به ارتباط میان داستان نگاره غرق شدن مرد ریش‌دار اثر بهزاد با متن منازل‌السائرین خواجه عبداللّه انصاری توجه شده و هدف از آن کشف روابط ناپیدای میان مضمون «یقظه» یا بیداری از منظر پیر هرات با کلیّت داستان نگاره و نحوه عملکرد شخصیت‌های آن است. درمجموع با مطالعه نگاره مشخص شد که در نگاره غرق شدن مرد ریش‌دار عطار، بهزاد و سلطانعلی در انتقال پیام نگاره بسیار موفق بوده‌اند. مضامین شعر عطار اشاره به شناخت نفس و ترک تعلقات دنیوی و عبرت گرفتن از حال اهل بلا دارد. بهزاد به‌خوبی از عهدۀ انتقال مضامین داستان برآمده و با ترسیم کردن مرد ریش‌دار که در حال غرق شدن است، عدمتوجهبه تنبّه و بیداری در ابتدای سلوک را خاطرنشان می‌سازد و سلطانعلی نیز با مکتوب کردن اشعار عطار، بر مضامین نهفته در آن از منظر پیر هرات تأکید می‌کند. درنهایت ما شاهد تمثیلی از عطار هستیم که به وسیله بهزاد در قالب مرد ریشدار در عدم بیداری از خواب غفلت و توجه نشان ندادن به وادی سلوک الی‌اللّه به‌خوبی مصور شده است. پژوهش پیشِ رو به صورت کیفی و با رویکرد توصیفیـتحلیلی و با استفاده از منابع کتابخانه‌ای (واقعی و مجازی) نگاره مورد نظر را مورد واکاوی قرار داده است. https://rph.soore.ac.ir/article_722693_c07651372dbf051f0e9aef9b9b85f5e3.pdf

دانشگاه بین المللی سوره رهپویه حکمت هنر 2980-812X 4 2 2025 09 23 Articulating the Theoretical Framework of the Razavi School of Art Based on the “Seven Stages of the Manifestation of Qadar” Theory تبیین چارچوب نظری مکتب هنر رضوی بر اساس نظریۀ «هفت منزل تجلی قدر» 23 35 725420 10.22034/rph.2025.2058247.1136 FA داود رنجبران دانشیار گروه تاریخ تطبیقی و تحلیلی هنر اسلامی، دانشکده علوم نظری و مطالعات عالی هنر، دانشگاه هنر ایران، تهران، ایران 0000-0002-2818-7976 مهران گلستان استادیار گروه تاریخ تطبیقی و تحلیلی هنر اسلامی، دانشکده علوم نظری و مطالعات عالی هنر، دانشگاه هنر ایران، تهران، ایران 0000-0002-2818-7976 مهدی نصیری دانشجوی دکتری تخصصی، گروه تاریخ تطبیقی و تحلیلی هنر اسلامی، دانشکده علوم نظری و مطالعات عالی هنر، دانشگاه هنر ایران، تهران، ایران 0000-0002-2818-7976 Journal Article 2025 04 18 The Razavi School of Art stands as an authentic and distinct current within the vast panorama of Islamic art. It represents a confluence of profound faith, deep spiritual knowledge, and artistic creativity that has blossomed and evolved within the sacred precinct of the Holy Shrine of Imam Reza (PBUH) in Mashhad, Iran. This school is not merely a collection of disparate artworks; rather, it constitutes a coherent intellectual and aesthetic system rooted in monotheistic doctrines and the teachings of the Ahl al-Bayt, particularly the conduct and sayings of the eighth Imam of Shia Muslims. The Imam’s noble hadith regarding “Qadar” (Divine Measure, Order, Proportion, and Destiny), where it is defined as “geometry and the setting of limits,” can be considered a foundational theoretical pillar of this school. This is because it emphasizes order, proportion, and harmony as manifestations of Divine wisdom in creation and, consequently, in art. The Razavi School of Art endeavors to embody the sacred truth and pure Razavi spirituality through form, structure, color, light, and symbolism, such that the artwork itself acts as a gateway to the realm of meaning, guiding the beholder towards contemplation and inner intuition.<br />Despite the immense artistic and spiritual value of the Razavi School of Art, there has been a notable absence of a cohesive theoretical framework for its comprehensive analysis. Previous studies in Islamic art generally addressed its various aspects, and while attempts have been made to elucidate its theoretical foundations, a specific framework for the Razavi School, particularly in light of Imam Reza’s (PBUH) concept of “Qadar,” remained a critical necessity. This research directly addresses this gap by proposing an innovative and comprehensive analytical model.<br />The primary necessity for this research stems from the need to move beyond mere descriptive or historical accounts of Razavi art and provide a robust theoretical framework for its interpretation. This study aims to answer two fundamental questions: Firstly, what criteria define artworks belonging to the Razavi School of Art?  Secondly, how can artworks of this school be read and analyzed using the theory of Qadar?  The main objective is to articulate and explain the “Seven Stages of the Manifestation of Qadar” theory, which offers a comprehensive and practical approach to understand the aesthetic and spiritual foundations of Razavi art. This framework can serve as a valuable tool for future research in Islamic and religious art, and provide guidance for contemporary artists seeking inspiration from Razavi teachings.<br />This qualitative study is based on the “theory development” approach and the “systematic theory abstraction development” model. This structured model is for expanding conceptual frameworks in qualitative research, which leads to the construction or development of theory through the back-and-forth between theoretical concepts and empirical data. The research employs analytical-interpretive methods:<br /><br />Conceptual Thematic Analysis: This method was used to extract key concepts of Qadar theory and its religious, mystical, and aesthetic foundations. The Sources analyzed included the works of Dr. Hassan Bolkhari (especially <em>Qadar: The Theory of Art and Beauty in Islamic Civilization</em>), religious texts (the Holy Quran and Hadiths, including Imam Reza’s (PBUH) hadith on geometry), and Islamic mystical and philosophical texts (such as the works of Suhrawardi and Ibn Arabi). The process involved open conceptual coding, thematic categorization, and conceptual mapping to form the initial conceptual structure. MAXQDA software and manual analytical tables were used for coding and mapping.<br />Artistic Discourse Analysis: This method was applied to interpret specific examples of Razavi art and architecture as multi-layered cultural texts. This analysis facilitated the application of the theoretical framework to empirical instances.<br /><br />The development of the “Seven Stages of the Manifestation of Qadar” framework commenced with the extraction of foundational concepts from theoretical and religious texts. Concepts like “Tajalli” (manifestation), rooted in Quranic verses and mystical interpretations, served as theoretical bases. Subsequently, using deductive-inductive reasoning, abstract concepts were linked with empirical observations. This process of moving from general principles (e.g., Qadar as cosmic order) to specific artistic features (e.g., architectural balance) and vice-versa, led to the structuring of the seven levels. These levels represent successive stages of the manifestation of Divine Qadar in art: Light as the Source of Qadar, Geometry as the Language of Qadar, Motifs and Symbols as Bearers of Qadar, Moderation as the Principle of Qadar, Ornamentation as the Manifestation of Qadar, Spiritual Space as the Environment of Qadar, and the Identity of Razavi Art as the Outcome of these Manifestations.<br />For a preliminary evaluation of the framework’s functionality, a case study approach with purposive sampling was employed. Two prominent examples from the Holy Shrine’s architecture—the Goharshad Mosque and the Golden Iwan of the Atiq Courtyard—were analyzed in detail. These analyses served as a pilot testing of the framework, aiming to elucidate and clarify the theoretical levels within a real-world artistic context, rather than for definitive validation. To enhance the internal validity of the research, strategies such as data triangulation, negative case analysis, and peer review by independent experts were utilized.<br />The core finding of this research is the introduction and elucidation of the “Seven Stages of the Manifestation of Qadar.” This theory provides a structured and systematic framework for reading, analyzing, and interpreting artworks of the Razavi School, moving from the tangible and sensory aspects to the deeper semantic and spiritual layers. Each level focuses on a specific aspect of the artwork and the manifestation of sacred truth within it:<br />Level One: Geometric and Structural Reading: Examines the underlying geometric composition, symmetry, and proportional systems, viewing them as a manifestation of Divine Qadar and cosmic order.<br />Level Two: Reading of Visual Components: Focuses on sensory elements like color, light, texture, and motifs, analyzing their role in creating aesthetic beauty and conveying meaning in harmony with Divine order.<br />Level Three: Symbolic and Codified Reading: Deciphers the symbolic language, iconography, and hidden meanings within the artwork, linking them to their source in Divine.<br />Level Four: Spiritual-Thematic Reading: Explores the overt spiritual and doctrinal messages embedded in the artwork, connecting them to Islamic and Razavi teachings and the purposeful order of creation.<br />Level Five: Pilgrimage-Centered Reading: Considers the phenomenological and spiritual experience of the pilgrim or viewer, analyzing how the artwork evokes emotions and spiritual states during ziyarah (pilgrimage).<br />Level Six: Historical and Cultural Contextualization: Situates the artwork within its specific historical, cultural, social, and political “Qadar” (time and place), addressing how external factors shaped its production and reception.<br />Level Seven: Reading of Divine Presence and Intuition: This ultimate level aims for a supra-sensory and intuitive understanding of the manifestation of sacred truth within the artwork. It delves into how the artwork acts as a locus for divine presence, enabling an immediate spiritual apprehension for the beholder. This is approached through an interpretive phenomenological lens, where the cumulative understanding from previous levels leads to an intuitive grasp of cosmic order (Qadar) and Divine beauty and majesty.<br />This research successfully articulated a novel theoretical framework for the Razavi School of Art based on Dr. Hassan Bolkhari’s “Qadar theory,” leading to the “Seven Stages of the Manifestation of Qadar” theory. This framework offers a systematic and practical approach to reading and analyzing the artworks of the Razavi School. Accordingly, Razavi artworks are defined not only by their temporal and spatial connection to the Holy Shrine but also by their inherent capacity for analysis through these seven levels of manifestation. These artworks, by leveraging the concept of Qadar as divine order and geometry and Tajalli as the manifestation of sacred truth, express Razavi teachings and spiritual values, guiding the audience towards contemplation and inner intuition. The application of this framework to prominent examples of Razavi art, such as the Goharshad Mosque and the Golden Iwan of the Atiq Courtyard, demonstrated its efficacy in uncovering the hidden semantic and aesthetic layers of these works. Ultimately, this study aims to fill a theoretical gap in the understanding of the Razavi School of Art and contribute to the broader field of Islamic art studies. It provides a valuable model for future research in religious art and a guide for contemporary artists inspired by Razavi spiritual heritage. پژوهش حاضر به واکاوی و ارائۀ چارچوبی نوآورانه برای فهم و تحلیل مکتب هنر رضوی می‌پردازد. مکتب هنر رضوی، به عنوان جریانی اصیل در هنر اسلامی که در حریم قدسی حرم مطهرامام رضا^(ع) تجلی‌یافته، گنجینه‌ای ارزشمند از آثار هنری را در بر می‌گیرد. علی‌رغم اهمیت این مکتب، فقدان چارچوبی نظری منسجم برای تحلیل آن احساس می‌شود. این پژوهش با هدف رفع این خلأ، به دو پرسش اصلی می‌پردازد؛ نخست، چه آثاری در ذیل مکتب هنر رضوی قرار می‌گیرند؟ و دوم، چگونه می‌توان با بهره‌گیری از نظریه قدر، به خوانش و تحلیل آثار هنری این مکتب پرداخت؟ روش پژوهش تحلیلیـتفسیری است که با مطالعۀ منابع مرتبط با نظریۀ قدر حسن بلخاری و مکتب هنر رضوی، به تدوین چارچوبی نظری می‌انجامد. یافتۀ اصلی پژوهش، ارائه و تبیین نظریۀ «هفت منزل تجلی قدر» است که شامل هفت ساحت خوانش (هندسی-ساختاری، عناصر بصری، نمادها و رمزگان، مضامین معنوی، تجربه زیارتی، زمینه تاریخیـفرهنگی و شهود باطنی) برای تحلیل آثار مکتب هنر رضوی می‌باشد. این چارچوب نظری، باتکیهبر مفهوم «قدر» از حسن بلخاری به مثابه نظم و هندسه الهی و مفهوم «تجلی» به‌معنای ظهور حقیقت قدسی، رویکردی جامع و کاربردی برای درک مبانی زیبایی‌شناختی و معنوی هنر رضوی ارائه می‌دهد و می‌تواند در پژوهش‌های آتی هنر اسلامی و دینی مورد استفاده قرار گیرد. https://rph.soore.ac.ir/article_725420_5fd6c707683cb8445d6b81a94c95ab8b.pdf

دانشگاه بین المللی سوره رهپویه حکمت هنر 2980-812X 4 2 2025 09 23 Examining the Cultural and Ideological Implications of the Visual Elements of the Sheikh Safi Tomb Carpet Using Roland Barthes’ Visual Semiotics Approach بررسی دلالت‌های فرهنگی و ایدئولوژیک عناصر بصری قالی بقعه شیخ صفی با رویکرد نشانه‌شناسی تصویری رولان بارت 37 50 725667 10.22034/rph.2025.2054249.1122 FA الناز مهاجری دانشجوی دکتری تخصصی فلسفه هنر، دانشگاه آزاد تهران مرکزی، تهران، ایران. 0009-0001-3834-1666 محمد عارف دانشیار عضو هیئت علمی گروه هنر دانشگاه آزاد اسلامی واحد تهران مرکزی، دانشگاه آزاد تهران مرکز، تهران، ایران 0000-0002-6804-7716 محمد رضا شریف زاده استاد عضو هیئت علمی گروه هنر دانشگاه آزاد اسلامی واحد تهران مرکزی، دانشگاه آزاد تهران مرکز، تهران، ایران. 0000-0002-8965-9287 Journal Article 2025 03 13 In this study, the carpet of the tomb of Sheikh Safi al-Din Ardabili, the jewel of the handmade art of the Safavid period, is examined with the semiotic approach of Roland Barthes, a prominent French theorist. The main goal is to decipher the hidden semantic layers of the carpet motifs by focusing on the systems of significations, cultural codes, and symbols used in it, relying on Barthes’ theories. The main research questions are 1. What systems of signification and cultural discourses have played a role in the formation of meaning and the role-playing of the carpet elements? 2. How do the visual elements of the carpet of Sheikh Safi’s tomb represent myths about culture, power, or mysticism through the secondary signification system in Roland Barthes’ theoretical framework?<br />Employing a descriptive-analytical method, data for this research were gathered and analyzed through library resources. The Sheikh Safi al-Din Ardabili carpet, an exquisite piece symbolizing the zenith of Safavid art and mysticism, once graced the tombs of Safavid royalty. Woven during the reign of Shah Tahmasp for his ancestor, one of this world-renowned pair resides in London’s Victoria and Albert Museum, while the other is held in the Los Angeles Museum of Art. Beyond mere decoration, its structure operates as a semiotic system, where each visual element reflects profound cultural, religious, and artistic meanings.<br />This research uniquely employs semiotic theory to highlight concepts embedded within the carpet, presenting an image of a garden and paradise that reflects the weaver’s aesthetic sensibility. Many of its symbols and visual elements, deeply connected to religious beliefs and life rituals, have long been overlooked. This qualitative study employs both detailed analysis and semiotic system analysis to examine the carpet. Barthes, as a semiotician and mythologist, is always in search of hidden meanings and concepts behind seemingly trivial and ordinary forms. He has been active in the pursuit of meaning and decoding, both in the field of literature and in other cultural and artistic domains. These research results are innovative as they offer the first comprehensive and systematic analysis of the carpet using Roland Barthes’ semiotic theory, whereas previous studies have focused on historical, technical, and aesthetic aspects. This study uncovers the carpet’s hidden semantic and cultural layers, revealing its connection to Safavid society’s beliefs and values. Key analytical axes include mythology, motif relationships (coexistence and succession), explicit and implicit implications, binary oppositions, Barthes’ codes, and the influence of culture on the art’s creation.<br />In primitive societies, myths extended beyond the natural world, holding sacred significance. Iranian art, deeply intertwined with symbolism, reflects religious beliefs, decorative motifs, and socio-cultural influences. In the Sheikh Safi carpet, the Abbasi tulip motif embodies the myth of earthly paradise and mystical ascension. This flower, a symbol of love, mysticism, and martyrdom in Iranian culture. The appearance of this flower - which resembles a cup - is reminiscent of the blood of martyrs and lovers. Its presence in the carpet signifies the weaver’s aspiration for divine perfection and immortality. The tulip is a symbol of eternal life; because it blooms again every year and displays its beauty, reminiscent of resurrection myths.<br />The bergamot’s mythical design visually represents the Garden of Eden at the carpet’s center, symbolizing the connection between the material and spiritual realms. The bergamot, a water-filled basin, embodies the spiritual center, while its four elements (water, wind, earth, and fire) suggest human transcendence from the material to the spiritual. Geometric motifs, featuring sun rays and a central sun, evoke a fertile, abundant paradise, reflecting a mythological cosmic order and harmony beyond mere decoration.<br />In the Ardabil carpet, the axes of juxtaposition and substitution in design and color are of particular importance. Juxtaposition is based on how elements are placed together and their functional combination, while substitution refers to how elements are replaced and selected from among different options. The carpet’s border—composed of narrow and wide bands, louvers, and chains—demonstrates sophisticated visual harmony. The louver’s color, matching the background, exemplifies the assemblage axis, while complementary colors in the border motifs highlight the succession axis. This interplay is further seen in the harmonious relationship between <em>Khatai</em> and <em>Eslimi</em> patterns. Ultimately, the meticulous arrangement of all visual elements, through both assemblage and succession, unifies the design to convey a singular concept.<br />In Barthes’ semiotics, “signification”—the link between signifier (form) and signified (concept)—drives meaning-making, shaped by social and cultural structures. This process involves both explicit and implicit layers. For instance, the Abbasid tulip in the Sheikh Safi carpet explicitly denotes beauty and order. Yet, implicitly, it symbolizes heaven, power, unity, and spirituality within Iranian-Islamic culture. Beyond its natural depiction, contextual analysis reveals deeper political, historical, and mythological implications, showcasing the rich, multi-layered meanings embedded in this visual sign. In the Sheikh Safi carpet, the explicit meaning of its imagery initially presents as decorative artistry. However, a deeper semiotic analysis of its signs and codes reveals multi-layered meanings, moving beyond this initial perception to implicit interpretations. This analysis shows that the motifs, far from being mere decoration, embody a cosmological worldview where each shape functions as a profound symbol.<br />Fundamental to this semiotic understanding are the prominent binary oppositions: “inside/outside,” “unity/multiplicity,” and color contrasts like “dark/light” and “warm/cold” between the main text and border. The central bergamot, for example, symbolizes a powerful, paradise-creating force, while the floral background represents unity within plurality. These contrasts underscore a dualistic visual composition, deeply aligned with the ritual and cultural foundations of the Safavid era.<br />Semiotics examines the structure of communication codes, as understanding a sign’s meaning relies on deciphering its embedded code. These codes, spanning categories like spoken/written, verbal/non-verbal, scientific, social, aesthetic, hermeneutic, and cultural, must be meaningful to their audience to convey a message effectively. In hand-woven carpets, the semiotic system’s code forms the framework for motif interpretation. Specifically, the Ardabil carpet’s code incorporates social, mythological, and cultural elements. Its prominent lanterns, acting as mythological codes, symbolize the connection between heaven and earth and divine light. Their symbolic understanding extends to illuminating a mosque or representing a heavenly sign, with their suspended form further emphasizing this celestial link.<br />The Sheikh Safi carpet is a profound cultural artifact, weaving together a rich tapestry of symbols, values, and shared beliefs. It powerfully embodies the social and cultural identity of the Iranian people, with every thread reflecting human ingenuity and spirit. The carpet’s inscription, a cultural symbol in itself, typically features Qur’anic verses, poetry, or religious phrases, directly mirroring the deep-seated faith and cultural values of its time. A semiotic analysis, particularly through Roland Barthes’ lens, reveals that the carpet’s design, patterns, and colors are deeply rooted in the Safavid era’s cultural, philosophical, and religious thought, especially its evolving Shi’ism. Driven by the flourishing of religious sciences and Qur’anic interpretations under Shah Ismail I, artists imbued their work with Shi’ite, religious, and mystical themes. Thus, the carpet’s motifs transcend mere decoration, becoming a vibrant reflection of the era’s ideas, ideals, values, and myths.<br />The Sheikh Safi carpet’s motifs transcend mere religious reflection, embodying a sophisticated semantic system interwoven with explicit and implicit cultural codes. Semiotic analysis reveals a rich tapestry of meaning, portraying the religious worldview and aesthetic ideals of the Safavid artists through mythological motifs, visual structure, and associative axes. More than just a reminder of Iranian-Islamic culture, this hand-woven masterpiece narrates a collective unconscious, echoing ancient symbols, desires, and cultural ties. Examining the carpet’s symbols and myths highlights the artist’s intimate connection with their environment. As a cultural text decoded through Barthes’ theory, the Sheikh Safi carpet unlocks a deeper understanding of the Safavid period’s artistic values. Its motifs reflect a transcendent world and an eternal garden of paradise rooted in the vision of the artists. The belief in an ideal world and an eternal garden of paradise can be considered one of the most important characteristics of the Sheikh Safi carpet. در این پژوهش فرش بقعۀ شیخ‌صفی‌الدین اردبیلی، نگین هنر دستبافت دورۀ صفویه، با رویکرد نشانه‌شناسی رولان بارت، نظریه‌پرداز برجستۀ فرانسوی، بررسی می‌شود. هدف اصلی، رمزگشایی از لایه‌های پنهان معنایی نقوش فرش با تمرکز بر نظام‌های دلالت، رمزگان‌های فرهنگی و نمادهای به‌کاررفته در آن، با تکیه بر نظریه‌های بارت است. پرسش‌های اصلی پژوهش عبارتند از 1. «چه نظام‌های دلالتی و گفتمان‌های فرهنگی در شکل‌گیری معنا و نقش‌آفرینی عناصر قالی نقش داشته‌اند؟» و 2. چگونه عناصر بصری قالی بقعۀ شیخ صفی از طریق نظام دلالت ثانویه در چارچوب نظری رولان بارت، اسطوره‌هایی دربارۀ فرهنگ، قدرت یا عرفان را بازنمایی می‌کنند؟». روش تحقیق توصیفیـتحلیلی است و داده‌ها به صورت کتابخانه‌ای گردآوری و تحلیل شده‌اند. یافته‌ها نشان می‌دهند که نقوش فرش بقعۀ شیخ‌صفی نه‌تنها بازتاب‌دهندۀ فرهنگ، باورها و آیین‌های مذهبی دورۀ صفوی هستند، بلکه از طریق دلالت‌های صریح و ضمنی، رمزگان‌های فرهنگی و تقابل‌های دوتایی، نظام معنایی پیچیده‌ای را شکل می‌دهند. تحلیل نشانه‌شناختی نقوش اسطوره‌ای، محورهای همنشینی و جانشینی و ساختارهای بصری فرش، تصویری از جهان‌بینی دینی و آرمان‌های زیبایی‌شناختی هنرمندان این دوره را به نمایش می‌گذارد. این پژوهش نشان می‌دهد که فرش شیخ‌صفی، به عنوان یک متن فرهنگی، قابلیت رمزگشایی از طریق نظریۀ بارت را دارد و می‌تواند به درک عمیق‌تری از ارزش‌های فرهنگی و هنری دورۀ صفویه منجر شود. https://rph.soore.ac.ir/article_725667_ccf382eec69ad3b9a1f430953879ef85.pdf

دانشگاه بین المللی سوره رهپویه حکمت هنر 2980-812X 4 2 2025 09 23 An Analysis of the Degrees of a Muslim Artist in Encountering Symbol and Its Representation تحلیل مراتب هنرمند مسلمان در رویارویی با رمز و بازنمایی آن 51 60 725418 10.22034/rph.2025.2054993.1118 FA سمیه امیدواری دانشیارگروه معماری، دانشکده هنر و معماری، دانشگاه علم و هنر، یزد، ایران 0000-0001-9941-5158 جواد آقاجانی کشتلی استادیار گروه پژوهش هنر، دانشکده هنر و معماری، دانشگاه علم و هنر، یزد، ایران 0000-0002-2365-220X Journal Article 2025 03 08 The language of symbols and mysteries is one of the methods of expression and creation in artistic and literary works by the artist. Certain artistic schools and movements—such as conceptual art, abstract art, art created based on religious and spiritual elements, art produced by mystics or followers of <em>futuwwa</em>, and artworks formed within the context of symbol, sign, and myth—are closely linked to the language of symbols and mysteries.<br />According to Iranian sages and mystics, meaning can manifest both externally and internally. The general audience can understand the apparent meaning; however, understanding the inner meaning requires knowledge and intuitive awareness. Inner meaning is symbol and mystery, and it can only be discovered by those familiar with symbolic knowledge. In <em>Sufi</em> terminology, a symbol is the inner meaning concealed beneath the outward words, inaccessible to those outside the path. Here, the symbol refers to what is hidden beneath apparent speech.<br />This article analyzes the relationship that the Muslim artist establishes with different degrees of the symbol. This analysis is based on the positions of the Muslim artist in relation to concepts of symbolization and deciphering across various levels. The research method of this article is descriptive-analytical in nature. The information-gathering method is library-based and relies on indexing tools from primary sources of Traditionalist thinkers and explanatory secondary sources.  These library sources are related to the subject of symbol, symbolization, and decoding in Islamic art. Data analysis is conducted qualitatively with a qualitative content analysis approach. The research findings are obtained through the lens of Traditionalist thinkers such as René Guénon—a scholar who, believing in the relationship between form and shape and their levels, considered the higher realm as the archetype of the lower and regarded the lower levels as symbols of the higher levels.<br />The existence of pairs of form and meaning is one of the systems that holds significance in the world of creation and, consequently, in religious law. The connection between meaning and its manifestation in form differs across various artistic expressions. An artist, depending on the worldview and culture in which he is raised, chooses different methods to achieve this manifestation in his art, just as the cosmos itself consists of multiple levels. One level belongs to the world of meaning, and another to the world of form. Between these two, other levels also exist. However, each level acts as a veil to the level above it, preventing the perception of the meanings and truths of the higher levels within the lower ones.<br />Often, in the transmission of meanings from the world of meaning to the world of form, the artist undergoes a stage of decoding and a stage of encoding. In the stage of decoding, the artist interprets the symbols of the natural world—namely the world of creation—and engages in discovering or unveiling the secrets of this world. Undoubtedly, symbols are not unveiled through intellect or sensation alone; rather, the inner capacities of intuition and insight within the human being make decoding possible. By outlining the levels of these worlds and their relationship in the processes of symbolization and decoding by the artist, one can identify three stages—concealment, unveiling, and manifestation—in the process of creating a work of art.<br />In the stage of unveiling, the artist decodes the natural world and extracts meanings from nature, matter, or the world of creation. But in the stage of manifestation, these meanings must enter human artistic works. This stage in the creative process can be described as manifestation. Since in the manifestation stage, great meanings must once again transform into material-world appearances, the artist is inevitably required to once again use symbols and manifest meaning through symbolic forms. Therefore, it could be said that the work of the artist is both decoding and encoding.<br />The artist expresses meanings through forms and symbols so that each person, according to his capacity, may perceive these meanings. The position of the artist in the process of creating a work of art is of great importance. This person’s (the artist’s) view of art is not merely as a profession or a means of earning a livelihood, but as a mission. For a Muslim artist, this mission is the decoding of the world—a decoding that reveals the mysteries of existence and manifests them through art. The Muslim artist often learns artistic skills within a traditional culture and civilization under the guidance of a master craftsman. However, before teaching the technical skills, the master first imparts the ethics and values of the craft. In the process of creating artworks, each artist, depending on the refinement and discipline of his soul and his connection to the world of meaning, establishes a different relationship with the concept of the symbol. One group seeks a true understanding of the symbol and its manifestation in art, while another carries only the outward form of the symbols without grasping their higher, essential meanings.<br />Thus, artists may be categorized into three levels in their relation to symbolic concepts: bearers of the symbol, discoverers of the symbol, and creators of the symbol. Creators of the symbol are those who use the language of art to manifest hidden messages and meanings in their work. They employ various artistic media—such as painting, calligraphy, architecture, and pottery—to convey religious, philosophical, social, and political concepts in a symbolic manner. They make use of symbols, geometric shapes, colors, and inscriptions to express meanings that go beyond the surface of the work. Discoverers of the symbol include both artists and audiences. These are individuals who attain a proper understanding of the hidden meanings and wisdom embedded in traditional and Islamic arts. They interpret and expand upon these meanings through the use of the symbols and forms present in artworks, acting as intermediaries between the creators and bearers of the symbol. Bearers of the symbol are artists who serve as a bridge between Islamic and contemporary art. Although they have not grasped the deep meanings and hidden wisdom in Islamic arts, have managed to transfer the cultural heritage of the past to new generations by focusing on techniques and creating the outward forms of these arts. <br />Therefore, it can be said that the artist first seeks to discover and understand the truths of the world, and then seeks to manifest those truths. The language through which this truth is expressed is the language of symbolism, and the artist engages in a kind of symbol-making within the world. The process of creating artworks through the language of symbolism unfolds through the stages of veiling (<em>sitr</em>), unveiling (<em>inkishāf</em>), and manifestation (<em>tajallī</em>)—a progression through which the artist, by deeply contemplating these levels, can attain the truth of existence. Passing through these stages in the creative process is achievable only for artists at the level of symbol creators.  It is only these artists who have refined and disciplined their souls—who have reached this rank, and they are exceedingly rare. However, artists at the levels of discoverers and bearers of the symbol are far more numerous, and each, according to their position, carries a part of art’s sacred mission. رمز یکی از مفاهیمی است که هنرمند مسلمان در خلق آثار خویش ناگزیر از آن بهره می‌گیرد. بی شک هنرمند مسلمان بنا به مرتبه خویش و جایگاهی که در نظام هستی داشته است قادر به کشف و یا انکشاف رموز عالم به عنوان حقیقتی متجلی در نظام عالم تکوین و در مرتبه بعد تجلی بخشیدن به آن معنا در نظام عالم تشریع بوده است. گشایش رمز و درک معنا از نظام هستی و در مرتبه‌ای دیگر تجلی بخشیدن به آن معنا در قالب صورت رمزی کار هنرمند مسلمان خواهد بود. اما سؤال اصلی آن است که مراتب هنرمندان مسلمان در رویارویی با رمز و بازنمایی آن در هنر چگونه است؟ هدف از انجام پژوهش تعیین نسبتی است که هنرمند مسلمان با مراتب مختلف رمز برقرار میکند. فرایند خلق هنر اسلامی در گرو رمزگشایی و رمزپردازی در عالم هستی بوده است که هنرمند مسلمان با غور در معنا باید به حقیقت این رموز واقف گردد و آنها را در فرایند خلق هنر، به مرتبه تجلی رساند. روش انجام پژوهش از نظر ماهیت توصیفی-تحلیلی است. روش گردآوری اطلاعات به شیوه کتابخانه‌ای بوده است که با ابزار شناسه‌برداری از منابع سنتی و منابع مکمل انجام شده است. روش تجزیه‌وتحلیل اطلاعات کیفی بوده است. مطالعه و غور در میان هنرمندان مسلمان بیانگر آن است که همه هنرمندان در یک مرتبه و جایگاه قرار نداشته‌اند و در نسبت‌های متفاوتی که با آثار هنری برقرار می‌کنند، جایگاه آنها متفاوت خواهد بود. بررسی‌های این تحقیق بیانگر آن است که می‌توان جایگاه هنرمندان را در سه مرتبه حامل رمز، کاشف رمز و خالق رمز دانست که هنرمندان در هر مرتبه نسبت متفاوتی را باحقیقت رمز برقرار می‌کنند. https://rph.soore.ac.ir/article_725418_d7a65899a950c58c25d273d1389c6286.pdf

دانشگاه بین المللی سوره رهپویه حکمت هنر 2980-812X 4 2 2025 09 23 A Reflection on Pierre Bourdieu’s Theory of Artistic Fields and Its Alignment with the Evolution of Photography in the World تأملی بر مدل میدان‌های هنری پیر بوردیو و تطبیق آن با سیر تحول عکاسی در جهان 61 76 725668 10.22034/rph.2025.2057262.1132 FA بهزاد صحتی دانشجوی دکتری تخصصی، رشتۀ تاریخ تطبیقی و تحلیلی هنر اسلامی، دانشکده هنرهای تجسمی، دانشکدگان هنرهای زیبا، دانشگاه تهران، تهران، ایران. 0009-0009-7889-5784 محمد ستاری دانشیار، عضو هیئت علمی گروه عکاسی و ارتباط تصویری، دانشکده هنرهای تجسمی، دانشکدگان هنرهای زیبا، دانشگاه تهران، تهران، ایران 0009-0009-4087-0389 Journal Article 2025 04 08 Pierre Bourdieu, in his theory of artistic fields, speaks of two poles: the autonomous and the heteronomous. The autonomous pole emphasizes the unique and pure characteristics of the artwork, while the heteronomous pole relies on material values, popular opinions, and external factors. The heteronomous pole aligns with the sensibilities of the upper class and is itself divided into two subsections: the bourgeois and the industrial. In the bourgeois subsection, we observe artistic approaches with materialistic and popular inclinations. However, in the industrial part, the focus is purely on economics and appealing to the audience.<br />Based on Bourdieu’s method in the artistic field and from a comparative perspective, the author and the audience have always represented two opposing poles throughout the history of photography. In Bourdieu’s theory, audiences are influenced by the heteronomous pole, while authors (artists) are influenced by the autonomous one. Photography has always been associated with technical processes and various subject matters, including style and genre, and has invariably dealt with audiences due to its realistic nature, affordability, accessibility, and ease of interpretation.<br />Bourdieu’s sociology of cultural production is the origin of many key debates in contemporary art sociology. His innovations in French sociology quickly established him as one of the greatest theorists in the social and cultural sciences. He has also contributed writings and theories on photography. In Bourdieu’s sociological model, several core concepts play essential roles, particularly “field” and “classification,” which form the foundation of social structures. Classification is especially important in shaping popular agents within society. A field is defined as a social arena in which struggles for specific interests and access to them occur. In this theory, Bourdieu mentions various networks formed in civilized societies, each with its own system aimed at achieving power. Among these, art also has its own field, which is divided into two poles: autonomous and heteronomous. The autonomous pole is based on pure artistic principles, while the heteronomous pole relies on external factors and places great emphasis on material value. This heteronomous pole is further divided into two parts: bourgeois and industrial. The industrial sector is rife with superficial and trivial elements, and the artist, influenced by public demand and attention, produces work that garners more material value.<br />Given these descriptions, the field of photography can be mapped onto the two poles of the artistic field. This alignment is based on the types of reception and characteristics categorized according to their social class and dominant or subordinate culture.<br />The most defining feature of photography is its realism. However, this initial characteristic has been overshadowed by another “power” that interprets photography as a device of global domination. The third feature is its capacity as a means of reproduction. By the late 19th century, photography had begun to majestically record images of the bourgeoisie. Due to its realism, photography was initially kept out of the fine art community until a group of photographers attempted to align it with painting as an art form. Gradually, some broke away and sought to adhere to the essential foundations of the photographic medium and maintain its independence. These became known as “straight” or “autonomous” photographers, also referred to as modern photographers, due to their formalist principles. They had classical rules based on technical and theoretical knowledge of photography and did not rely on any external elements. For them, artistic value was paramount.<br />In Bourdieu’s theory, he explains that in the heteronomous pole, the arts fall under the influence of other fields—specifically, the commercial one. Thus, in the heteronomous artistic field of photography, photographers are evaluated based on their success in satisfying audiences. The value of their work is measured by the sales of their photographs. The more they can ride the waves of social trends, the more successful they are considered.<br />This heteronomous field of photography is divided into four sections: realism, artistic styles, the power system, and the popular system, with photographic developments briefly examined in each. It has to be mentioned that in the section on photographic realism, the discussion of the pure and exclusive characteristics of photography is considered.<strong> </strong>Keeping a photo of recently deceased loved ones as a memento, which was a pastime for people, especially in the 19th century, or capturing an image of oneself to immortalize that moment, are among the prominent examples of realism in photography. Here, the independence of photography from other arts and the recording of a similar narrative regarding the subject are considered. Here, press and news photos are especially prioritized, which attract a large audience.<strong> </strong>Press photos can be considered the most attractive genre in the world of photography. This genre is a kind of showcase of the photographic medium. Those who have become interested in photography in any way or have known photography must have a large part of press photos in their minds. These photos have played a major role in attracting audiences due to their realism and news reporting characteristics at the same time. In addition to press photos, paparazzi photos, which refer to secret photos of prominent figures, also have a special place in public popularity.<br />In the section on artistic styles, the characteristics are mentioned where photography inspired by other arts has been successful in attracting an audience.<strong> </strong>In this context, what is important is the similarity to the art of painting due to its high status, which allowed enthusiasts to raise their social class status. Also, the similarity to the narrative of the show genre in the discussion of entertainment, which presented itself in the form of a collection of photographs. In the power system section, it refers to photographs that were taken in the service of the government or colonial sectors. Many documentary photographers, who were not photographers themselves and were simply from the upper class, photographed the poor to attract the attention of the upper class. On the other hand, photography in the hands of colonial advisors in the colonized areas was also a means of earning money from the indigenous people of those areas. In the popular section, the importance is on the cheapness and accessibility of this medium. Also, attention to people of other races, technical advances in terms of ease of working with the photographic structure, and attracting people to this medium are among the popular sectors.<br />In the second part of the field, Bourdieu speaks of the autonomous pole—where arts are based on purism. These practitioners value art for its own sake and ignore economic concerns. They allow no external interference. Here, the autonomous field of photography is divided into critical-political and artistic branches, with photographic developments examined briefly in each. In the critical part, what is most important are the leftist groups who believe that art should serve the people. In the artistic part, the role of several people in the independence of photography as a self-reliant art is very important. In this context, photography in various genres places great emphasis on idealism and the soul of the author. In the 20th century, as photography and its various genres became more familiar to the public, it gained significant popularity—largely because, unlike demanding cultural activities like painting or music, photography required little training or skill. It also became part of the everyday cultural consumption of ordinary people.<br />The aim of this article is to apply Bourdieu’s theory of artistic fields to the historical trajectory of photography in order to answer the question: How can the historical dimensions of photography be matched with Bourdieu’s theory of artistic fields? Adopting a comparative approach, this paper is theoretical-fundamental in nature and follows a descriptive-analytical method. Data were collected from library sources and various websites and analyzed qualitatively. The findings demonstrate the applicability and effectiveness of Bourdieu’s theory of artistic fields in understanding the historical developments of photography. پیر بوردیو در نظریه میدان‌های هنری خود از دو قطب مستقل و وابسته صحبت می‌کند. قطب مستقل بر ویژگی‌های منحصربه‌فرد و ناب اثر هنری تأکید دارد و قطب وابسته بر ارزش‌های مادی و دیدگاه‌های عامه‌پسند و عوامل خارجی تکیه دارد. قطب وابسته به روحیات طبقه بالای جامعه نزدیک است و خود به دو بخش دیگر که بورژوازی و صنعتی باشد تقسیم می‌شوند. در قطب وابسته بورژوازی شاهد رویکردهای هنری‌مآبانه از سوی هنرمند هستیم. هرچند که سویه‌های مادی و عامیانه نیز در نظر گرفته شده است. اما در بخش صنعتی تنها چیزی که اهمیت دارد صرفاً بحث اقتصادی و جلب نظر مخاطب به هر شکل ممکن است. این اثر باتوجهبه گردش حالات اجتماع به یک سمت می‌تواند در برهه‌های مختلف تغییر و بسته به سلیقه مردم فرق کند. بنابراین پدیدآورنده اثر باید خودش را با آنچه جامعه می‌پسندد به‌روز کرده، اثری باب میل آنان به وجود آورد و به هر ترفندی دست بزند. عکاسی نیز در طول تاریخ خود ـنزدیک به دو قرنـ فرایندهای فنی و مضمون‌های مختلفی را اعم از سبک و ژانر را به خود دیده است. عکاسی در هر شرایطی با مخاطب سر و کار داشته است و این به خاطر ماهیت واقع‌گرایی، ارزان بودن، در دسترس بودن و نیز از سویی دیگر خوانش راحت معنای آن است. در تاریخ عکاسی، مولف و مخاطب دو قطب متقابل هم بودند که بر روی همدیگر همواره تأثیر گذارده‌اند. در نظریه میدان‌های هنری بوردیو، مخاطبان از لحاظ قطب وابستگی و مؤلفان از لحاظ قطب مستقل تأثیرگذار بوده‌اند. هدف این مقاله تطبیق نظریه میدان‌های هنری بوردیو با سیر تاریخی عکاسی است تا به این پرسش پاسخ دهد که چگونه سویه‌های تاریخی عکاسی با نظریه میدان‌های هنری بوردیو قابل تطبیق است. مقاله حاضر از رویکردی تطبیقی بهره می‌برد و از نظر هدف بنیادیـنظری بوده و از نظر روش توصیفیـتحلیلی به شمار می‌رود. همچنین اطلاعات از منابع کتابخانه‌ای و تارنماهای گوناگون گردآوری شده و نهایتاً با رویکردی کیفی مورد تجزیه و تحلیل قرار گرفته است. نتایج تحقیق بیانگر انطباق و کارایی نظریه میدان‌های هنری بوردیو با سیر تحولات تاریخ عکاسی جهان است. https://rph.soore.ac.ir/article_725668_dba8efcae06ec5a1ae889c9c7a3f5289.pdf

دانشگاه بین المللی سوره رهپویه حکمت هنر 2980-812X 4 2 2025 09 23 Freedom and Individual Responsibility in Encountering the Other; An Examination of the Perspectives of Sartre, Freud, and Jung in Contemporary Iranian Cinema (Case Study: The Character of Nader in Asghar Farhadi’s A Separation) آزادی و مسئولیت فردی در مواجهه با دیگری؛ واکاوی دیدگاه سارتر، فروید و یونگ در سینمای معاصر ایران (نمونه موردی کاراکتر نادر در فیلم جدایی نادر از سیمین) 77 90 725669 10.22034/rph.2025.2060196.1143 FA الناز راسخ دانشجوی دکتری تخصصی فلسفه هنر، واحد تهران مرکزی، دانشگاه آزاد اسلامی، تهران، ایران. 0009-0000-3341-470X محمد اکوان دانشیار گروه فلسفه، واحد تهران مرکزی، دانشگاه آزاد اسلامى، تهران، ایران. 0000-0002-3866-5708 محمود دهقان هراتی استادیار، گروه آموزشی هنرهای نمایشی، واحد تهران مرکزی، دانشگاه آزاد اسلامی، تهران، ایران 0009-0001-0878-1716 Journal Article 2025 05 09 This study explores the intricate relationship between freedom and individual responsibility in the context of human confrontation with the Other, using Asghar Farhadi’s critically acclaimed film “A Separation” as its primary case study. By employing a tripartite theoretical framework—existential philosophy as articulated by Jean-Paul Sartre, Freudian psychoanalysis, and Jungian analytical psychology—the research seeks to shed light on the psychological, philosophical, and cultural forces that shape human action and ethical decision-making in moments of crisis. Each of these theoretical traditions offers a unique lens to examine the conscious and unconscious layers of the human psyche and their interplay within socio-cultural structures.<br />From an existentialist standpoint, Sartre’s philosophy places a radical emphasis on human freedom and the inescapable responsibility that accompanies it. According to Sartre, human beings are “condemned to be free,” meaning that every action, even inaction or refusal to choose, constitutes a form of choice. No external condition—be it social, cultural, or psychological—can fully relieve the individual of responsibility for their decisions. Sartre differentiates among three modes of being: <em>être-en-soi</em> (being-in-itself), which characterizes unconscious existence devoid of reflection, such as objects; <em>être-pour-soi</em> (being-for-itself), representing conscious beings capable of self-reflection and transcendence; and <em>être-pour-autrui</em> (being-for-others), wherein the self becomes objectified under the gaze and judgment of others. It is in this last mode—being-for-others—that the challenge to authentic existence becomes acute, as the individual is constantly confronted with the threat of self-alienation due to the expectations and evaluations of the Other.<br />In “A Separation,” the central character Nader’s decision to remain in Iran to care for his ailing father rather than emigrate with his wife, Simin, can initially be interpreted as an act of autonomous agency, a manifestation of existential freedom. However, Sartrean analysis reveals that Nader simultaneously evades the full implications of his choice. He does not transparently acknowledge the responsibility he bears for the breakdown of his marriage, and instead rationalizes his decision through familial obligation. This is indicative of <em>mauvaise foi</em> or “bad faith”—a mechanism through which individuals deceive themselves to avoid the anxiety of freedom and the burden of accountability.<br />In contrast, Freudian psychoanalysis reconfigures the concept of freedom by demonstrating how much of human behavior is driven not by conscious deliberation, but by the dynamic and often conflicting forces of the unconscious. Freud’s tripartite model of the psyche—the id, ego, and superego—offers a systematic account of internal psychological conflict. The id operates according to the pleasure principle, seeking immediate satisfaction of instinctual drives, while the superego functions as the internalized voice of societal and parental norms. The ego, positioned between these two forces, strives to maintain balance by adhering to the reality principle. It negotiates external demands and internal impulses, often resorting to defense mechanisms such as repression, projection, and denial.<br />In the context of “A Separation,” Nader’s behavior reveals several of these Freudian dynamics. His sense of guilt, anxiety over his father’s decline, and defensiveness in the face of Razieh’s accusations suggest that unconscious conflict plays a substantial role in his decision-making process. While he claims moral and rational motives, his emotional volatility and tendency to lash out indicate that deeper, unprocessed psychological tensions—possibly stemming from helplessness, suppressed anger, and guilt—are at work. Freud would interpret these outbursts and lapses in self-awareness not as moral failings, but as symptomatic expressions of repressed drives that the ego fails to integrate adequately.<br />Complementing both Sartre and Freud, Carl Gustav Jung’s analytical psychology introduces a third dimension: the role of mythic structures, symbols, and cultural archetypes in shaping identity and behavior. Jung critiques Freud’s overemphasis on personal neuroses and instead underscores the importance of the collective unconscious—a reservoir of shared human experience and imagery manifested through archetypes. For Jung, the self is not merely a product of personal memory or conscious will but is deeply embedded in a symbolic universe that precedes individual awareness. Key archetypes include the persona (the social mask), the shadow (the repressed, darker aspects of the self), the anima/animus (gendered inner counterparts), and the self as the psychic totality striving for individuation and wholeness.<br />In “A Separation,” Jungian analysis reveals the powerful presence of these archetypal dynamics. Nader’s struggle to define himself as a dutiful son, honest man, and responsible father unfolds through confrontation with several archetypes. The shadow emerges in his suppressed rage, his inability to empathize with Razieh, and his confrontation with social shame. The hero archetype is activated when he takes charge in crises, while the wise old man is reflected in the physical and symbolic presence of his ailing father, whose deterioration mirrors Nader’s internal struggle with moral decay and emotional detachment. Simin, too, could be interpreted through Jungian terms as representing the anima—a challenge to Nader’s rigid and reason-driven self-image, offering emotional depth and intuition he resists integrating.<br />What unites these three frameworks—despite their distinct ontological assumptions—is a shared concern with the limits and conditions of human freedom. Sartre insists on conscious responsibility but omits the weight of the unconscious. Freud lays bare the hidden impulses and conflicts that distort rationality and self-knowledge. Jung integrates both dimensions but adds a cultural and symbolic depth that highlights the role of inherited patterns and collective values. The convergence of these approaches provides a more holistic understanding of the film’s characters and their psychological complexity.<br />Indeed, the central research question—how freedom and responsibility are shaped and constrained by the interplay of conscious and unconscious forces, personal neuroses, cultural archetypes, and social expectations—is best answered by this interdisciplinary synthesis. While Sartre emphasizes the weight of personal choice in moral conflict, Freud reveals how those choices may be influenced, even undermined, by internal conflicts and unresolved childhood dynamics. Jung, in turn, interprets such conflicts as moments of archetypal emergence, where the individual confronts collective images and myths that give meaning (and limitation) to personal agency.<br />The implications of this analysis extend beyond the specific characters of “A Separation.” On a broader level, the film becomes a microcosm of Iranian society—one in which individuals struggle to reconcile personal freedom with collective expectations, where ethical decisions are entangled in historical, familial, and symbolic structures. The emotional realism of Farhadi’s cinema, often praised for its moral ambiguity and psychological depth, gains new dimensions when approached through this tripartite theoretical lens. Each framework highlights different facets of the same experience: Sartre focuses on ethical action, Freud on internal conflict, and Jung on symbolic resonance. Together, they reveal that human decisions, especially in ethically ambiguous situations, are never reducible to rational choice alone.<br />In conclusion, this article argues that an interdisciplinary approach, combining existentialism, psychoanalysis, and analytical psychology, allows for a more nuanced and comprehensive reading of human behavior and moral conflict in cinematic narratives. By analyzing “A Separation” through these lenses, the study illustrates that freedom is not a purely conscious or individualistic attribute. It is constantly negotiated within a web of psychological tensions and cultural narratives. Sartre’s model, while powerful in its ethical rigor, must be tempered by Freud’s insights into the unconscious and Jung’s symbolic and collective dimension. Freedom, then, is neither absolute nor illusory; it is conditional, layered, and always situated in a context that includes the Other, both external and internal.<br />Such an interdisciplinary framework not only enriches the interpretation of Farhadi’s cinema but also offers a valuable methodology for the critical analysis of contemporary Iranian artistic productions. It encourages deeper reflection on the moral, psychological, and cultural foundations of human identity and reaffirms the relevance of classical theoretical paradigms in the reading of modern cinematic texts. This approach invites viewers, critics, and scholars alike to reconsider the very foundations of agency, choice, and responsibility in the realm of aesthetics, ethics, and the human condition. این پژوهش با اتخاذ رویکردی میان‌رشته‌ای در بررسی نظریات سارتر، فروید و یونگ، به تحلیل ابعاد آزادی و مسئولیت فردی در مواجهه با دیگران در سینمای معاصر ایران، از جنبه‌های فلسفی و روان‌شناختی می‌پردازد. نمونۀ موردی فیلم جدایی نادر از سیمین به کارگردانی اصغر فرهادی است. مقالۀ پیشِ رو سعی دارد رفتارها و انتخاب‌های شخصیت‌های این فیلم را ضمن واکاوی اندیشۀ سارتر پیرامون مسئولیت و آزادی فردی، بر اساس نظریات فروید و یونگ تحلیل نماید. بنا بر دیدگاه سارتر، آزادی وجودی در جهت انتخاب‌های مستقل و پذیرش مسئولیت فردی در رویارویی با «دیگری» مورد بحث قرار می‌گیرد. فروید بر اهمیت تأثیر نیروهای ناخودآگاه، امیال سرکوب‌شده و مکانیسم‌های دفاعی در شکل‌گیری انتخاب‌های به‌ظاهر آگاهانه تأکید دارد، درحالی‌که یونگ با استناد به مفاهیم ناخودآگاه جمعی، آرکی‌تایپ‌ها و فرایند فردیت‌یابی، ابعاد فرهنگی و نمادین هویت را مورد بررسی قرار می‌دهد. این پژوهش ضمن تحلیل تطبیقی و مفهومی، در تلاش است با هدف ارزیابی نقاط تلاقی و تضاد میان این دیدگاه‌‌ها، نشان دهد چگونه تعامل میان آزادی و مسئولیت‌های درونی، به انتخاب‌های فردی در این فیلم که ماحصل پیچیدگی میان خودآگاه و ناخودآگاه، به همراه تنش‌های اجتماعی و فرهنگی است، جهت می‌بخشد. درنتیجه این یافته‌ها، می‌تواند زمینه‌ساز بررسی دقیق و تلفیقی از ابعاد مختلف آزادی و مسئولیت فردی در مواجهه با دیگری در بستر سینمای معاصر ایران باشد تا با ارائه ساختاری نوین به تحلیل آثار هنری کمک نماید و بستر گفت‌وگوی میان‌رشته‌ای در حوزه‌های فلسفه، روان‌شناسی و هنر را فراهم آورد. https://rph.soore.ac.ir/article_725669_435d505ad7043aa0568cbe09e3928893.pdf

دانشگاه بین المللی سوره رهپویه حکمت هنر 2980-812X 4 2 2025 09 23 An Analysis of Urban Carpets in the Second Pahlavi Era Based on Pierre Bourdieu’s Field Theory تحلیل فرش شهری دورۀ پهلوی دوم مبتنی بر نظریه میدان پیر بوردیو 91 101 725419 10.22034/rph.2025.2056505.1126 FA مرضیه آقاجری کارشناسی ارشد پژوهش در فرش، گروه آموزشی فرش، دانشکده هنرهای کاربردی، دانشگاه هنر ایران، تهران، ایران. سمانه کاکاوند دانشیار، گروه آموزشی فرش، دانشکده هنرهای کاربردی، دانشگاه هنر ایران، تهران، ایران. 0000-0002-8768-6206 Journal Article 2025 03 24 Iranian carpets, as cultural and artistic artifacts, possess commercial and economic dimensions and hold historical and social significance. As an indigenous and cultural commodity, carpets in Iran are sociologically the product of collective efforts by actors within the handwoven carpet industry. Researchers explore them as structures embedded in society and as artistic works through personal and psychological lenses. The production and trade of Iranian handwoven carpets flourished in some periods, while in others, their artistic identity became more pronounced. At times, they were treated primarily as utilitarian and commercial goods. This shift in the function and meaning of carpets, particularly during the Pahlavi era, took on a new form due to the direct intervention of the state in the production and trade of handwoven carpets, elevating this historical and cultural phenomenon to a distinctive position in society. The production and trade of carpets underwent significant changes within the context of urban lifestyles. During the Pahlavi era, the privilege of carpet weaving and the impacts this artistic-commercial phenomenon could have in Iran began to change. For example, during the first Pahlavi period, numerous factories for carpet production were established, which restricted the economic activities of non-Iranian merchants. As a result, urban carpets have entered a new phase. Before the Allies entered Iran (September 1941), carpet exports accelerated. During the second Pahlavi period, various aspects of carpets and carpet weaving gained attention, with a focus on their artistic, cultural, and propagandistic elements as expressions of nationalism. The Pahlavi period is significant in carpet history due to the serious entry into global markets and its cultural impacts beyond the country’s borders. One of the developments of this period was the invention of standardized and hygienic carpet looms in the 1970s, which aimed to prevent physical health complications among weavers. At the same time, carpet designers benefited from advancements in industrial printing; they began to create designs with grid patterns. In 1977, the Iranian government established the Carpet Museum of Iran. During this period, the transfer of carpet patterns and designs between different regions of Iran began, and the same trend continued in subsequent periods. Economic developments, along with the withdrawal of multinational companies from production and trade, made the Pahlavi era a period of transformation in Iran’s carpet industry. This article aims to analyze urban carpets as a social and cultural domain during the second Pahlavi period, based on Pierre Bourdieu’s field theory. During the second Pahlavi period, urban carpets served more than just visual purposes; they functioned as a complex network of power dynamics, social distinction, and identity representation. Pierre Bourdieu’s field theory emphasizes that society comprises arenas, each with its own structured space in which actors, capitals, dispositions, and habitus shape the internal dynamics of the field. Accordingly, this research aims to understand how urban carpets functioned as both an instrument and an arena for the reproduction and transformation of social and cultural structures during the period under study. Thus, the following research questions are posed: What factors contributed to the formation of the subfield of urban carpets during the Pahlavi era? What components were influential in identifying and recovering the cultural and symbolic capitals within the subfield of urban carpets during the second Pahlavi period? The present research is the result of library studies and archival investigations, possessing a fundamental nature and falling within the category of qualitative research. The research method is descriptive-analytical. To achieve the research objectives, urban carpets from the second Pahlavi period were selected as case studies and analyzed using Bourdieu’s field theory. The sampling method was purposive and determined based on available specimens that align with the components of the research problem. The present study analyzes urban carpets of the second Pahlavi period based on Bourdieu’s field theory and the social, economic, and cultural complexities governing their formation and transformation. According to Bourdieu’s field theory, it can be argued that the cultural, economic, social, and symbolic capitals of Iranian carpets underwent changes during the Pahlavi era, establishing new relationships with the field of power. Within this framework, Iranian carpets acquired a distinctive position in the field of art, with urban carpets representing the most evident manifestation of this transformation. Various factors, including the economic, social, and cultural capital of different actors (such as the state, capitalists, and citizens), played significant roles in shaping and transforming urban carpets. These factors were so intricately interconnected that they enabled a comprehensive, multidimensional understanding of urban development processes. Over time, Iranian handwoven urban carpets experienced substantial transformations, influenced by encounters with Western art and culture as well as the growth and development of urban societies. These transformations during the second Pahlavi period accelerated under the influence of Western art and modernizing developments in Iranian society, taking on new forms. The Iranian carpet field during Mohammad Reza Pahlavi’s era was a structured space where various actors operated. The actors included trade and production professionals divided into smaller subgroups like design, weaving, dyeing etc. A newer participant in the carpet field was researchers who acted as active players. The urban carpet field, like any artistic field, had its own specific rules, and activists in the Pahlavi urban carpet field competed to gain power. The Iranian carpet field consisted of smaller subspaces, such as the urban carpet subfield during the Pahlavi period, which possessed its own capitals and actors representing field expansions. Cultural capital has been demonstrated through the establishment of the Carpet Museum, the donation of carpets as symbols of national identity, and various forms of research in the field of carpets, including books, theses, articles, newspapers, and foundational research for making documentaries, all contributing to the expansion of the urban carpet subfield. Regarding symbolic capital, one can refer to weaving orders from the royal court, the weaving of exquisite carpets for the coronation hall, and participation in domestic and international exhibitions such as the Vienna Carpet Exhibition, which are among the factors that increase this capital. This is while the establishment of the first large machine-made carpet factory in Kashan and the export of wool and cotton are mentioned as factors reducing capital. In conclusion, the field of power in reality functions as a kind of meta-field that has influenced all fields. The important effects of the power field on the cultural and symbolic capitals of the urban carpet subfield during the second Pahlavi period can be seen in the royal-commissioned weavings, power-inspired image weavings from Pahlavi court symbols, the establishment of government institutions in the handwoven carpet sector, and the founding of the Iran Carpet Museum. As a result, during the Pahlavi period, the carpet field had a significant relationship with the power field, and the expansion or restriction and reduction of the carpet field’s scope was directly related to the approaches of the actors in the power field, having an important impact on urban carpets in the second part of the Pahlavi era. In other words, the urban carpet subfield during the Pahlavi period was more powerful in its competition with other subfields of rural and tribal carpets. تولید و تجارت فرش دستباف ایران در برخی دوره‌ها رونق بیشتری داشته و در بعضی از ادوار وجهه هنری پررنگ‌تری به خود گرفته و گاهی مواقع به عنوان یک کالای تجاری و کاربردی مورد استفاده قرار گرفته است. این تغییر کاربرد و معنا در فرش خاصه در دوره پهلوی شکل جدیدی یافته و به‌واسطۀ دخالت مستقیم دولت در امور مربوط به تولید و تجارت فرش دستباف، این پدیدۀ تاریخی و فرهنگی جایگاه ویژه‌ای در جامعه یافت. مطالعه و تحلیل فرش شهری به عنوان یک عرصه اجتماعی و فرهنگی در دورۀ پهلوی دوم متکی بر نظریۀ پیر بوردیو مسئلۀ اصلی این مقاله است. در دورۀ پهلوی دوم فرش شهری فراتر از یک عنصر بصری و به مثابه یک میدان پیچیده از روابط قدرت، تمایز اجتماعی و بازنمایی هویت عمل می‌کند. نظریه میدان پیر بوردیو تأکید دارد جامعه از میدان‌هایی تشکیل‌شده که هرکدام فضای ساخت‌مندی از موقعیت‌هاست و دارای کنشگران، سرمایه‌ها، خصلت و عادت‌واره‌هایی است که فضای درونی میدان را می‌سازند. بر این اساس درک چگونگی کارکرد فرش شهری به عنوان یک ابزار و صحنه برای بازتولید و تحول ساختارهای اجتماعی و فرهنگی در دوره مورد نظر هدف پژوهش است؛ بنابراین چنین پرسش‌هایی طرح می‌شود که چه عواملی در شکل‌گیری زیرمیدان قالی شهری دوران پهلوی نقش داشته است؟ چه مؤلفه‌هایی در شناخت و بازیابی سرمایه‌های فرهنگی و نمادین زیرمیدان قالی شهری دوره دوم پهلوی مؤثر بوده است؟ پژوهش حاضر از انواع کیفی بوده و روشی توصیفی تحلیلی دارد که مبتنی بر نظریه میدان پیر بوردیو شکل‌گرفته است. اطلاعات لازم از طریق مطالعات کتابخانه‌ای تأمین‌شده است. نتیجه آنکه زیرمیدان قالی شهری دورۀ پهلوی تحت‌تأثیر سرمایه‌های فرهنگی و نمادینی چون؛ تأسیس موزۀ فرش، اهدای قالی به مثابه شناسۀ هویت ملی، انجام تحقیقات بنیادین درزمینۀ فرش، سفارش بافت قالی به تولیدکنندگان از سوی دربار و درنهایت بافت قالی‌های نفیس ویژه تاج‌گذاری محمدرضا پهلوی بوده و در قدرتمند شدن زیرمیدان فرش شهری مؤثر بوده‌اند. از دیگر سو علاوهبر عوامل فزایندۀ میدان، دو مؤلفه تأسیس اولین کارخانه فرش ماشینی در کاشان و صادرات پنبه و پشم ذیل سرمایه‌های نمادین به عنوان کاهندگان وسعت میدان فرش شناخته شدند. https://rph.soore.ac.ir/article_725419_41bb6d18ceb64d3286322e6c1bad0dda.pdf

دانشگاه بین المللی سوره رهپویه حکمت هنر 2980-812X 4 2 2025 09 23 The Semantics of Gothic Era Gargoyles معناشناسی گارگویل‌های عصر گوتیک 103 113 725417 10.22034/rph.2025.2053813.1111 FA دانیال سوهانی کارشناسی ارشد نقاشی، گروه نقاشی، دانشکده هنر، دانشگاه بین‌المللی سوره، تهران، ایران. 0009-0008-8260-0574 محمد معین الدینی استادیار، گروه نقاشی، دانشکده هنر، دانشگاه بین‌المللی سوره، تهران، ایران 0009-0009-5094-3297 Journal Article 2025 02 18 Gargoyles are among the most distinctive visual and architectural elements of European Gothic cathedrals, emerging from the aesthetic, religious, and social transformations of the Middle Ages. Originally conceived as functional waterspouts, these sculptural forms gradually evolved into carriers of complex religious, symbolic, and even secular meanings. This article analyzes the ontology, origin, function, and semantic transformations of gargoyles within the historical, cultural, and artistic context of the Gothic era to demonstrate how these sculptures created a unique link between the transcendent Christian world and the everyday life of medieval people. With the spread of Christianity across Europe, the religion’s specific perception of sculpture as a potentially idolatrous medium led to the temporary marginalization of figural representations within sacred spaces.<br />Over time, however, particularly with the advent of Romanesque architecture, sculpture reappeared in churches, this time serving clear religious and didactic purposes. With the emergence of the Gothic style in the early twelfth century and concurrent advancements in architectural engineering, the use of sculpture, especially on the exterior of churches, expanded significantly. Gargoyles, in particular, acquired a distinctive status, transforming from purely utilitarian elements into multi-layered cultural and religious symbols.<br />Initially, gargoyles were designed for rainwater drainage. As Gothic cathedrals grew taller and European climates brought frequent and intense rainfall, there was an increasing need for effective water management systems. Gargoyles, by channeling rainwater through their mouths and away from the building, protected church walls and foundations from erosion and water damage. Over time, these elements acquired additional structural functions, such as better water flow distribution and reduction of pressure at drainage points, thereby minimizing localized deterioration. During the High and Late Gothic periods, gargoyles transitioned from functional objects to aesthetic and symbolic components. Characterized by exaggerated facial expressions, bared teeth, gaping mouths, and wide, piercing eyes, many gargoyles exhibit hybrid forms, merging human and animal traits. Examples include winged dragons, horned goats, furious lions, and multi-headed beasts, visual manifestations of the rich imagination of medieval stonemasons and the popular culture of the time. Artists of the Gothic era designed these sculptures with increasing detail, incorporating mythological monsters, composite animals, and eerie human faces. This approach served two main purposes: first, to produce a striking visual impact, and second, to encode moral and religious messages for audiences unfamiliar with scriptural texts.<br />Gradually, gargoyles came to be widely used as religious and ritual symbols. They were often interpreted as monstrous beings expelled from the church, dwelling outside the sacred space. Actually, they were representations of demonic forces banished from holiness. At the same time, their terrifying visages were intended to instill fear of hell and religious deviation. The Church employed these sculptures to evoke human emotions, fear, awe, and hope, as a means of moral instruction. In medieval thought, the presence of demons was accepted as a reality, and the battle between faith and evil was seen as the foundation of salvation. In this sense, gargoyles became tangible representations of this struggle, warning believers that evil forces lurked nearby and that refuge could only be found within the sanctuary of the church. Umberto Eco, in his analysis of gargoyles, interprets them as embodiments of chaos and disorder within the divine order of the Church. By incorporating these chaotic figures, the Church appeared to assert its dominion over the forces of darkness. Despite their grotesque and violent appearance, gargoyles thus became instruments for reinforcing cosmic and moral order, visual metaphors of theological teachings about the coexistence of good and evil. Beyond religious meanings, gargoyles also assumed a talismanic function. A common medieval belief held that such creatures could ward off evil spirits. This protective role was deeply rooted in popular culture and medieval superstition. It was believed that the frightening faces of gargoyles could drive the Devil away from sacred spaces. Thus, the gargoyle became a visual amulet, demarcating the boundary between the sacred world of the church and the dangerous, chaotic world outside. In this view, gargoyles served as a point of convergence between official religion and folk belief. Just as the Church employed local elements, such as stained glass stories or mural paintings, for its pedagogical mission, so too did gargoyles enable the integration of magical and talismanic meanings into ecclesiastical architecture.<br />As gargoyles became integral to church architecture, they gradually entered the broader visual culture of medieval society. No longer solely religious symbols, they became part of the social life of the community. Cathedrals served as social and political centers in medieval cities, and their surroundings were often lively venues for festivals, performances, and public gatherings. Positioned on the exterior of these buildings, gargoyles became familiar presences to the general populace, woven into their lived environment. During events such as the Feast of Fools or local coronation rituals held near the church, gargoyles, often with grotesque or humorous expressions, looked down upon the festivities. In this way, the boundary between the sacred and the secular, the religious and the everyday, was maintained and visualized in a continuous form.<br />Gargoyles played a key role in connecting with the everyday lives of the people. They were not merely aesthetic or ritualistic objects but contributors to the visual identity of medieval cities. Through their imaginative and diverse designs, they shaped the aesthetic experiences of passersby, becoming embedded in collective visual memory, much like public statues or sculptures in squares and passageways. Furthermore, as imaginary beings, gargoyles stimulated the collective imagination, becoming animated presences in folktales, myths, and children’s stories.<br />In conclusion, gargoyles represent a quintessential example of the convergence of form, function, and meaning in medieval art and architecture. They reflect the cultural diversity and complexity of medieval societies, which, despite the dominant influence of religion, were still shaped by a range of traditions and beliefs. As figures outside the official scriptural narrative, gargoyles inspired artists to employ creativity and imagination, incorporating folklore, mythology, and personal visions into their forms. Freed from the strict confines of religious dogma, gargoyles can thus be seen as symbols of artistic resistance against ideological limitations, as bridges between ancient cultures and medieval Christianity, between the divine and the secular, and ultimately, as testimonies to humanity’s enduring capacity for self-expression even under the most restrictive historical conditions. هدف این پژوهش شناخت نقش گارگویل‌ها در تلفیق مفاهیم دینی و مبانی ساختاری معماری گوتیک و تأثیر آنها بر هنر و فرهنگ آن عصر است. گارگویل‌ها به عنوان مجسمه‌های سنگی در نمای کلیساهای گوتیک، از مصداق‌های بارز هنر این عصر محسوب می‌شوند. این موجودات هرچند در آغاز بیشتر جنبه کاربردی داشتند اما به‌تدریج جنبه‌های زیبایی‌شناختی و نمادین آنها پررنگ‌تر شد. حال مسئله این است که گارگویل‌ها چگونه توانستند بین مفاهیم مذهبی و معنوی عصر گوتیک با زندگی مادی و واقعی انسان آن دوره پیوند ایجاد کنند و اینکه گارگویل‌ها به عنوان عنصری نمادین، چگونه واسطه میان جهان مذهبی کلیسا و جنبه‌های سکولار زندگی مردم در عصر گوتیک شدند؟ ازهمین‌رو پژوهش به روش تاریخی ـ توصیفی، ضمن بررسی کارکردهای چندگانۀ گارگویل‌ها در کلیساهای گوتیک اروپا، به تحلیل زیبایی‌شناسی و نمادین آنها می‌پردازد. یافته‌ها نشان می‌دهد که گارگویل‌ها، علاوهبر کارکرد محافظتی به‌ویژه به عنوان دفع‌کنندۀ شیاطین، با الهام از اساطیر پیشامسیحی، زندگی روزمره و روایت‌های تاریخی، به‌تدریج از کارکردهای صرف مذهبی فاصله گرفتند و به نمادی از آزادی هنری و پیوند مذهب با فرهنگ سکولار تبدیل شدند. این روند، بستری برای ظهور اندیشه‌های رنسانس فراهم کرد و نشان داد که گارگویل‌ها نه‌تنها بازتابی از هویت مذهبی جامعه بودند، بلکه عاملی برای تعامل هنر دینی با عناصر دنیوی محسوب می‌شدند. https://rph.soore.ac.ir/article_725417_d0c507c074786b0e913b7ec83184cd65.pdf

دانشگاه بین المللی سوره رهپویه حکمت هنر 2980-812X 4 2 2025 09 23 A Study on the Role of Sacred Numbers in the Creation of Islamic Art پژوهشی در نقش اعداد مقدس در آفرینش هنر اسلامی 115 132 721686 10.22034/rph.2025.2051720.1104 FA احد روان جو استادیار عضو هیئت علمی گروه گرافیک، دانشکده هنر شوشتر، دانشگاه شهید چمران اهواز، اهواز، ایران 0009-0009-8161-9748 راضیه قائدی بارده ئی دانشجوی کارشناسی ارشد پژوهش هنر، دانشکده هنر شوشتر، دانشگاه شهید چمران اهواز، اهواز، ایران. 0000-0002-3563-675X Journal Article 2025 02 01 In this article, the role of sacred numbers in the wise foundation of Islamic art, as used in traditional art, is examined. A comprehensive and in-depth examination of sacred numbers, whose significance arises from their application in the designs, symbols, and patterns of this traditional culture. The sacred numbers in Islamic art are not only known as the figures that are valid in mathematics but also as spiritual and religious symbols. These numbers include numbers such as one, two, three, six, eight, nine, ten, and twelve, which are repeated in the Qur’an, hadiths, and other sacred Islamic texts. However, the value of these numbers is also related to the pre-Islamic centuries in Iran. So how these numbers are used in Islamic art symbols is examined. In Islamic art, sacred numbers are considered symbols of religious and philosophical values. In this article, examples of the use of sacred numbers in architecture, music, calligraphy, and Islamic art painting are presented. These examples show that sacred numbers are used in art designs and patterns to represent Islamic religious and philosophical values and convey to the viewer deep messages. The purpose of this article is to express the importance and use of sacred numbers in Islamic art to show that these numbers have been used as symbols of spiritual and religious values in designs, symbols, and patterns of Islamic art. This article has been conducted qualitatively using a descriptive-analytical method. The data have also been collected from library sources, scientific research articles, and reputable internet sites. The statistical population of this article is collected images of buildings and works that are formed and built through sacred numbers in Islamic art including Islamic architecture, geometric motifs, tiles and more. The findings of the article indicate that artists, including musicians, calligraphers, and traditional architects, etc., exploit the sacred numbers that have been rooted in the thoughts of former thinkers and philosophers such as Plato and Pythagoras, as well as balance, and proportion. Islamic art is one of the most important and influential cultural elements in Islamic history. This art has been widely developed in coordination with architecture, painting, calligraphy, astronomy, etc., especially in Iran, Saudi Arabia, Syria, and Egypt. One of the interesting and varied aspects of Islamic art is the optimal use of sacred numbers used in symbolizing and artistic design. The topic of numbers is also one of the very interesting subjects, and the evolution of its concept among philosophers, logicians, mathematicians, literati, grammarians, and syntacticians is worth pondering. Therefore, the discussion of numbers has been of great use in astronomy, astrology, and superstition. Sacred numbers are a concept deeply associated with Islamic sciences and philosophy, such that in the Holy Quran and the Hadiths of the Prophet Muhammad (PBUH), great value and importance are given to specific numbers like the numbers one to nine. These numbers are also used in Islamic art as a symbol of religious credibility and beliefs, one of the prominent examples of the use of sacred numbers in Islamic art is the architecture of the mosque. Mosques, as sacred places for prayer and worship among Muslims, have unique artistic designs. In these designs, sacred numbers are used to create balance and harmony in dimensions, ratios, and decorations. For example, the ratio of length to width in the mosque structure is based on sacred numbers, and this helps the overall balance and beauty of the building. In addition, sacred numbers are exploited in art designs such as tile, mosaic, and inlay. These numbers are used in Islamic patterns, stars, networks, and geometric designs and cause fitness and harmony in the designs. The purpose of this article is to examine the status of sacred numbers in symbolizing Islamic art. Given the importance of these numbers in Islamic art, it is an examination of the concept and meaning of each sacred number and how it is used in symbolizing Islamic art. This article will also address examples of the use of sacred numbers in the structure of Islamic art and their impact on beauty and communication with Islamic religious and philosophical elements. The main question of the article is: How have sacred numbers been effective in the wise foundation of Islamic art? This study has expressed the mystery of some sacred numbers in a qualitative and descriptive approach and has conceptually examined them.<br />Regarding the significance of sacred numbers in the symbolism of Islamic art, we can refer to various books and articles that explore the recognition of the secrets of numbers, as well as their role and impact on Islamic works of art, including “Star Signs” by Linda Goodman (2003). In this book, the author employs numerology and astronomy to explain how they can be used to understand the hidden meanings behind words, names, titles, and phrases. Additionally, Ahmad Aqa Sharif (1383) in “The Book of Secrets and Mysteries of Numbers and Letters” has limited himself to introducing the secrets of a few numbers and has addressed the introduction of numbers and letters across different cultures and their beliefs and convictions. Asadullah Baqaei (2006), in “The Secret of Seven: Symbolism and Mythology of the Number Seven,” has spoken about topics such as the Seven Valleys, Seven Arts, Seven Sins, Seven Labors of Rostam, etc. Also, Azam Rahmani-Rad and Tayyaba Eslami (2007), in “The Amazing Secrets of the Number Seven,” mention the significance of the number seven in most cultures, ancient civilizations, and folk legends. They also refer to the ancient roots and sanctity of the number seven, including the story of the seven angels whom God sent to Earth from the heavens to help earthlings and communicate with prophets. Hassan Balkhari-Qahi (2009), in “The Geometry of Imagination and Beauty (A Study of the Views of the Ikhwan al-Safa on the Wisdom of Art and Beauty),” while discussing the wisdom of craftsmanship in Islamic culture, has extensively analyzed the viewpoints of the Ikhwan al-Safa and Khwan al-Wafa and examined them in relation to the theories of other philosophers and thinkers such as Plato, Avicenna, and Khwaja Nasir al-Din al-Tusi. Ikhwan al-Safa and the wisdom foundations of art, based on Greek opinions, divide geometry into two parts: rational and sensory, and describe its application in human life.<br />Majid Khazaei and Mehdi Momtahan (2011), in a study titled “Symbolic Representations of Numbers in the Quran, Mythology, and Literature,” state that creation has been concerned with the subject of counting from the beginning, writing, “It is not possible to determine a specific time for the discovery of numbers.” However, the direct relationship of human civilizations in the formation of numbers can be considered the evolution of human culture, as numbers have been an inseparable part of the necessities of human life and thought. Mahmoud Sadeghzadeh (2013), in his article titled “A Study of the Semantic and Literary Application of the Numbers Seven and Forty in the Masnavi,” while referring to the mysteries of the number seven in ancient Iran and their beliefs, including the belief in the seven realms and the seven attributes of Ahura Mazda, examines the significance of this number in the Quran and Islamic traditions, as well as in Persian mysticism, literature, and proverbs. Miranda Burruss Mitford (2015), in her book “The Illustrated Encyclopedia of Symbols and Signs,” discussed symbolic number systems and identified numbers in terms of their sacredness and symbolic aspects in tribes and nations. Also, in another example, Hassan Balkhari-Qahi (2016), in his book titled “The History of Art in Islamic Civilization (Music and Architecture),” while examining arts such as music and architecture in Islamic civilization, deals in detail with the history, theories, styles, and developments of Islamic music and architecture from the beginning to the contemporary period. در این مقاله نقش اعداد مقدس در زیرساخت حکمت‌آمیز هنر اسلامی به شیوه‌ای که در هنر سنتی به کار می‌رود، بررسی شده که به ارائه بررسی جامع و عمیقی از اهمیت اعداد مقدس در طرح‌ها، نمادها و الگوهای هنری این فرهنگ منجر شده است. اعداد مقدس در هنر اسلامی نه‌تنها به عنوان ارقامی که در ریاضیات معتبر هستند، بلکه به عنوان نمادهایی با ارزش معنوی و مذهبی نیز شناخته می‌شوند. این اعداد شامل اعدادی مانند یک، دو، سه، شش، هشت، نه، ده و دوازده هستند که در قرآن، حدیث‌ها و دیگر متون مقدس اسلامی بسیار تکرار می‌شوند. سپس، نحوه استفاده از این اعداد در نمادگذاری هنری اسلامی مورد بررسی قرار می‌گیرد. در هنر اسلامی، اعداد مقدس به عنوان نمادهایی از ارزش‌های دینی و فلسفی محسوب می‌شوند. در این مقاله، نمونه‌هایی از استفاده اعداد مقدس در معماری، موسیقی، خوشنویسی و نقاشی هنر اسلامی ارائه می‌شود. این نمونه‌ها نشان می‌دهند که اعداد مقدس در طرح‌ها و الگوهای هنری استفاده می‌شوند تا ارزش‌های دینی و فلسفی اسلامی را نمایان سازند و به بیننده پیام‌های عمیقی منتقل کنند. هدف از نگارش این مقاله که نوع بنیادی است، بیان اهمیت و کاربرد اعداد مقدس در هنر اسلامی بوده تا نشان دهد که این اعداد به عنوان نمادهایی از ارزش‌های معنوی و مذهبی در طرح‌ها، نمادها و الگوهای هنر اسلامی به کار رفته است. روش پژوهش در این مقاله که ماهیت کیفی دارد به شیوه روش توصیفیـتحلیلی صورت گرفته و با بهره‌گیری از منابع و داده‌های کتابخانه‌ای و مقالات علمیـپژوهشی و سایت‌های معتبر اینترنتی بیان می‌شود. یافته‌های مقاله حاکی از آن است که هنرمندان از جمله موسیقیدانان، خوشنویسان، معماران، پژوهشگران و... با شناخت ماهیت اعداد مقدس که ریشه در افکار اندیشمندان و فلاسفه پیشین همچون فیثاغورث، افلاطون و... داشته‌، از زیربنای حکمت‌آمیز آثار دوره اسلامی بهره فنّاورانه بیابند. و در تجربه افرینش آثار خود از محاسبات توازن و تعادل و تناسب برگرفته از تجارب پیشینی بهره بگیرند. همچنین آگاهی از این حقیقت که نقش اعداد مقدس در ساختار آثار هنری و نقوش هندسی در پیوند معنا و مفهوم و زیبایی در هنر حکمت‌آمیز اسلامی پشتوانه علمی مهمی محسوب می‌شود. https://rph.soore.ac.ir/article_721686_f9d049c3c1b2e234696a97c3d7ca741b.pdf

دانشگاه بین المللی سوره رهپویه حکمت هنر 2980-812X 4 2 2025 09 23 Aesthetic Reading of Star-Shaped Tiles (6th-8th Century AH) Based on the Principles of Visual Perception by Ibn al-Haytham خوانش زیبایی‌شناختی کاشی‌های ستاره‌ای‌شکل (سدۀ 6-8 ه.ق) بر پایۀ مبانی ادراک بصری ابن هیثم 133 143 725422 10.22034/rph.2025.2060702.1145 FA سکینه خاتون محمودی استادیار عضو هیئت علمی گروه پژوهش هنر، دانشکده هنر و معماری، دانشگاه سیستان و بلوچستان، زاهدان، ایران 0000-0003-3785-8943 ساحل عرفان منش استادیار عضو هیئت علمی گروه هنر، دانشکده علوم انسانی و هنر، دانشگاه حضرت معصومه، قم، ایران. 0000-0002-1886-6609 محمد حسن پور استادیار عضو هیئت علمی گروه صنایع دستی، دانشکده هنر و معماری، دانشگاه سیستان و بلوچستان، زاهدان، ایران. 0000-0002-1087-3994 Journal Article 2025 05 18 Tile art in the 6th century AH, characterized by the evolution of lusterware techniques and the development of complex geometric pattern-making methods, reached one of the most brilliant periods in Islamic art. During this era, Iranian artists created a distinctive style through the invention and use of star compositions and multi-petalled crosses, designed with mathematical precision within intricate geometric networks. A notable feature of these tiles is the detailed illustration of literary stories, executed with meticulous attention to detail. This style not only adorned mosques and tombs but also symbolized the connection between art, science, and mysticism in Islamic civilization. However, despite extensive technical studies on the materials and methods used to produce luster tiles, the theoretical foundations governing the aesthetics of these works—particularly in terms of design and visual perception—have been less thoroughly analyzed within the context of the scientific knowledge of that era. This gap calls for a re-examination of luster tiles through the lens of scholars such as Hasan Ibn al-Haytham (354–430 AH).<br />In his “Book of Optics,” one of the earliest systematic texts on visual perception, he explains the process of seeing and perceiving beauty based on empirical and mathematical principles. In this book, Ibn al-Haytham proposes twenty-two fundamental principles: 1) Light (brightness), 2) Dark (dimness), 3) Color, 4) Dimension or distance (far or closeness), 5) Status or Place (spatial direction), 6) Embodiment (physicality), 7) Shape, 8) Magnitude (size), 9) Distraction (dispersion), 10) Connection (continuity), 11) Number, 12) Movement, 13) Immobility, 14) Softness (smoothness), 15) Roughness (unevenness), 16) Transparency, 17) Turbidity, 18) Shadowing, 19) Beautifulness, 20) Ugliness, 21) Similarity (homogeneity), and 22) Dissimilarity (heterogeneity.) These principles, coherently and with an emphasis on “systematic observation,” “rational analysis of phenomena,” and “integrating details into a harmonious whole,” provide a novel framework for understanding beauty. Ibn al-Haytham delineates hierarchical stages in the process of perceiving beauty. These stages start with the identification of visual qualities and, through analogy, assessment, and perception, culminate in perceiving the highest form of beauty. According to his theory, perceptual knowledge is acquired through three avenues: 1) sense alone, 2) prior knowledge, and 3) analogy and rational inquiry—the latter is the primary path to understanding beauty. Notably, Ibn al-Haytham asserts that perceiving all twenty-two visual qualities is not necessary; even a single quality—such as light or luminescence—can evoke beauty. In the context of the star tiles, light and luminosity alone can generate a sense of beauty. However, in their illustration style, there are also characteristics that can be aligned with Ibn al-Haytham’s detailed meanings and the visual concepts derived from them. Based on this understanding, the present study aims to address the fundamental question: How do the design patterns of star-shaped tiles reflect the process of beauty perception according to Ibn al-Haytham’s theory (including the stages of systematic observation, rational analysis, and the association of particular meanings)? This research was conducted using a qualitative approach and a descriptive-analytical method. Data were collected through documentary research and a review of library resources, including specialized texts on Islamic art, scientific articles, and historical documents. Samples were purposefully selected from star tiles preserved in museum collections. To enhance robustness, the data analysis was carried out in two stages:<br /><br /><strong> Identification of visual features:</strong> Examining design elements such as motifs, visual patterns, and composition, and comparing them with the principles outlined in Ibn al-Haytham’s “Book of Optics.”<br /><strong> Theoretical adaptation:</strong> Extracting key concepts from Ibn al-Haytham’s theory—such as "systematic observation," "rational analysis," and "particular meanings"—and assessing their consistency with observed visual patterns in the tiles.<br /><br />The study employs an interpretive reasoning approach to analyze the relationship between the theoretical principles and the artistic practices, ensuring validity through triangulation—comparing literary sources, visual examples, and the overarching theoretical framework.<br />The findings are presented in two main sections. First, the alignment of “particular meanings” in Ibn al-Haytham’s theory—based on systematic observation and rational analysis—with the design patterns of star-shaped tiles, including the precise application of geometric sub-patterns in composition and the method of depicting subjects within the star-shaped frames. Second, insights into the design process itself, which indicate that, in accordance with Ibn al-Haytham’s stages of perception, the artist first observes, then contemplates, and finally infers the selection and arrangement of elements. Building on these insights, five key patterns—variety, rhythm, scale, unity, and harmony—are analyzed within the visual structure of star-shaped tiles as follows:<br /><br /><strong> Consistency of “Particular Meanings” with Tile Design: </strong>Ibn al-Haytham’s “particular meanings”—such as movement, similarity, difference, dispersion, distance, farness, and nearness—are reflected in the tile designs, especially through geometric sub-patterns and mathematical compositions. Artists, by emphasizing core characteristics and eliminating superfluous details, achieved a form of “visual unity” resulting from the calculated juxtaposition of elements within the frame. This formal characteristic accentuates the independence of the star-shaped frame, which functions as a self-contained visual world. The placement of pictorial elements adheres to systematic rules—such as diagonal arrangements—which create directional tension and dynamic balance.<br /><strong> Perception as a Rational-Sensory Process: </strong>Considering Ibn al-Haytham’s emphasis on reason in aesthetic perception, the organization of fundamental elements within the star framework produces complex structures. Reflective analysis of these structures and the recognition of relationships among visual elements lead to the highest levels of aesthetic cognition—perception through analogy and distinction—achieved via geometric harmony between parts and the whole. Although individual characteristics may be general, keen observation combined with structural reflection underpins the artistic process in these works.<br /><strong> The Nexus of Art and Science in Islamic Civilization: </strong>The alignment of Ibn al-Haytham’s principles with the design patterns of star tiles exemplifies the profound interaction between art and empirical sciences in the Islamic Golden Age. This research elucidates the design process by emphasizing visual perception and the purposeful organization of patterns based on observation, selection, organization, and proportionality. Applying geometric sub-patterns as a bridge between scientific principles and artistic practice underscores that the beauty of star tiles from the 6th to 8th centuries AH is rooted not only in technical skill but also in a systematic perceptual process that reflects Ibn al-Haytham’s aesthetic philosophy.<br /><br /><strong>Conclusion: </strong>The two main achievements of this research are: 1) Visual unity in star tiles results from the interaction between “particular meanings” (purposeful atomism) and a “geometric holism,” which enhances formal coherence. 2) The consistency between Ibn al-Haytham’s theoretical principles and artistic execution demonstrates a deep connection between art and empirical knowledge—where beauty is understood as a rational-sensory process rather than mere taste. Generally, based on Ibn Haytham’s ideas about the perception of beauty in Zarinfam tiles, it can be said that “perception” is the most significant factor in creating beauty. This perception involves components such as keen observation, conscious thinking, contemplation, and maintaining a balanced understanding of surrounding phenomena. Reliance on logical inference and conditional knowledge is essential for appreciating the beauty in these works.<br />Future research is suggested to expand this framework by exploring the application of optical principles (from <em>Al-Manazir</em>) in other Islamic art forms, such as calligraphy and architecture. پژوهش پیشِ رو، با هدف تحلیل نظام زیبایی‌شناختی کاشی‌های ستاره‌ای‌شکل زرین‌فام (نمونه‌ای ممتاز از هنر ایرانی ـ اسلامی) و بر پایۀ آراء ابن هیثم انجام شده است. نظریۀ ادراک زیبایی ابن هیثم، به عنوان یکی از جامع‌ترین مبانی زیبایی‌شناسی، قابلیت تطبیق با آثار هنر اسلامی را داراست. پرسش اصلی آن است که الگوهای طراحی در کاشی‌های ستاره‌ای‌شکل چگونه بازتابی از فرایند ادراک زیبایی در نظریۀ ابن هیثم (شامل مراحل مشاهده‌گری نظام‌مند، تحلیل عقلانی و همنشینی معانی جزئیه) هستند؟ یافته‌های تحقیق در دو بخش حاصل شده است: اول؛ تطابق معانی جزئیه در نظریۀ ابن هیثم (مبتنی بر مشاهده‌گری نظام‌مند و تحلیل عقلانی) با الگوهای طراحی کاشی‌های ستاره‌ای‌شکل که شامل این موارد است: کاربرد دقیق زیرنقش‌های هندسی در ترکیب‌بندی آثار؛ و نیز، شیوۀ بازنمایی سوژه‌ها. و دوم؛ مطالعۀ فرایند نقش‌پردازی که بیان‌گر آن است که بر پایۀ مراحل ادراک ابن هیثم، هنرمند مراحل گزینش و چینش عناصر را ابتدا مشاهده، سپس تأمل و سرانجام استنتاج می‌کند. نتیجه آن‌که زیبایی در کاشی‌های ستاره‌ای‌شکل، صرفاً نتیجۀ مهارت فنی نیست، بلکه بازتابی از فرایند ادراک نظام‌مند است که به‌خوبی بازتابی‌ است از آراء ابن هیثم در باب زیبایی‌شناسی. دو دستاورد کلیدی این تحقیق عبارتند از: 1. وحدت بصری در کاشی‌ها، حاصل تعامل میان «معانی جزئیه» (جزءنگرایی هدفمند) و «کلان‌نگری هندسی» است که انسجام فرمال را تقویت می‌کند. 2. همخوانی میان مبانی نظری ابن هیثم و شیوۀ اجرای آثار، گویای پیوند عمیق هنر اسلامی با دانش تجربی است؛ پیوندی که در آن، زیبایی نه به مثابۀ امری ذوقی، بلکه به عنوان فرایندی عقلانی-حسی تعریف می‌شود. https://rph.soore.ac.ir/article_725422_d74e02c136d9fb095ea5ad9de72d7279.pdf

دانشگاه بین المللی سوره رهپویه حکمت هنر 2980-812X 4 2 2025 09 23 Cultural Semiotics Analysis of the Image of Women in the Heaven of Mir Heydar’s “Meraj Nama” and Dante’s “Divine Comedy” تحلیل نشانه‌شناسی فرهنگی تصویر زنان در بهشت معراج‌نامه میرحیدر و کمدی الهی دانته اثر گوستاو دوره 145 160 725421 10.22034/rph.2025.2059046.1138 FA حنانه باقری دانشجوی کارشناسی ارشد هنر اسلامی، دانشکده هنر و معماری، دانشگاه تربیت مدرس، تهران، ایران. 0009-0006-9279-9893 ایمان رئیسی استادیار، گروه هنر اسلامی، دانشکده هنر و معماری، دانشگاه تربیت مدرس، تهران، ایران 0000-0003-2919-3486 Journal Article 2025 04 26 In the realm of cultural and religious discourse, various religions have addressed the ascension of saviors to meet God and witness the wonders of His creation. Through this, they aim to highlight the distinction between good and evil, revealing the right path from the wrong in societies immersed in corruption. According to verses 75 of Surah Al-An’am, 57 of Surah Maryam, and 46 of Surah Al-Qesas, Prophet Ibrahim ascended to the heavens of this world, Prophet Idris to the Divine Heaven, and Prophet Musa to Mount Tur. Other religions, such as Zoroastrianism, also address this topic. The narrative of Zoroaster’s mental ascension and his visit to the Divine Heaven and Hell is reflected in the Gathas. The story of ascension appears in various traditions and narratives throughout history, often featuring different religious elements but strikingly similar themes. Among these narratives is the story of the ascension of the Sassanid priest named Arda Viraf, who, after drinking mead and hemp, journeys to the spiritual realm and writes an account of his journey in his book, “Book of Arda Viraf, “ for the reflection of his society, which was immersed in corruption. It should be noted that different religions, influenced by the social and cultural contexts of their times, have approached this topic in distinct ways. These texts generally share a similar structure: a prophet, savior, or ordinary person experiences a spiritual ascension on a holy night, witnesses the heavens and the vastness of God’s creation, and, after visiting the Divine Heaven, Hell, and, in some cases, the intermediary realm, returns to Earth to enlighten the people of their time. However, the ascension in Islam and the account of Prophet Muhammad’s ascent take on a unique dimension. In this journey, the Prophet ascends to the heavens and the sacred space of the divine throne, both physically and spiritually. In addition to visiting Heaven and Hell, he encounters the wonders of creation and other prophets. In the ascension texts, the inhabitants of Heaven and Hell are depicted in distinct ways. Among them are women, who possess unique characteristics in both realms. In Hell, they endure specific punishments, while in Heaven, they are portrayed with piety and spiritual radiance. However, it is important to recognize that throughout history, human societies have often been governed by patriarchal systems, which have significantly influenced the development and evolution of art. This male-dominated art sees women within conditions shaped by men in society. In other words, religious and devotional art depicting women is not created from a genuine female perspective but from a male viewpoint. In these works, women are portrayed not as free and independent beings but within a patriarchal cultural and social framework. This art indirectly reflects the concepts and structures of a male-dominated society, where the view of women is shaped by both one’s own culture and that of others. Building upon these points, the present research aims to employ a Cultural Semiotics approach, drawing on Yuri Lotman’s theory of “self and other,” which posits that cultures, whether large or small, interact with one another in the space of self and other, mutually influencing each other. This study will compare the depiction of women in Heaven in two illuminated manuscripts of religious ascension texts: Mir Heydar’s “Meraj Nama” from the Timurid period in the 9th century AH (15th century CE) and Dante’s “Divine Comedy”, illustrated by Gustave Doré in the 13th century AH (19th century CE). These two versions have been selected due to their prominence in depicting women, the cohesion between text and image, and the completeness and accessibility of the illustrations. From the Heaven section of both manuscripts, three illustrations from each—chosen based on semantic proximity and thematic relevance—will be analyzed. The aim of this research is to understand the signs used in the depiction of women in Heaven in the “Meraj Nama” and the “Divine Comedy” and to explore the perspectives and degree of cultural influence between the two. The research question posed is: What cultural and religious status do women occupy in these two versions, and how are they depicted by the artists? A study of the “Meraj Nama” and Dante’s “Divine Comedy” reveals that the representation of women in Heaven, from a religious perspective, shares significant similarities. In the “Meraj Nama,” the ultimate purity and sanctity of women are symbolized by their conversion to Islam, with the first Muslim woman, Sumayyah, depicted as an ideal. Similarly, in the “Divine Comedy,” the holiest woman and central figure of the universe is portrayed as the Virgin Mary. It can be argued that the overall atmosphere in Dante’s “Divine Comedy” is influenced by the spiritual and mystical experience of Prophet Muhammad’s ascension. In sociological semiotics, it is necessary that more than one system be used to transmit and reflect reality, and for this purpose, signs are employed to convey meanings from one culture to another. The essence of these systems is that they aim to expand their meanings and concepts while remaining true to themselves, just as divine religions have each influenced one another, yet retain their own unique semantic spaces. Dante, influenced by the “Meraj Nama,”<em> </em>ascension narrative, created a new concept within his own semantic universe, incorporating elements of Islamic ascension and Christian elements. Women hold a special place in Heaven in both versions. However, it is ultimately the artist who creates these works based on their interpretive style, shaped by their religious culture. In the “Meraj Nama,” the artist, influenced by the political and monarchical atmosphere of the era, uses signs from the society and his own worldview to create the illustrations. Throughout history, various factors have influenced the creation of illuminated manuscripts, including political, cultural, and religious perspectives. However, it is ultimately the artist who integrates these elements, sometimes expressing his own preferences through symbolic signs or explicitly in the artwork. Individual perspectives arise from collective societal views, and if we consider the individual as a culture and society as uncultured, these two influence each other, and there is no clear boundary between them. Rather, each culture strives to preserve its own semantic range among others. Therefore, the way women are portrayed in the two versions under study is influenced by various semiotic factors, which at times present women as culture itself, at other times as uncultured, or even as transcultural entities beyond society. The status and portrayal of women in each era and government significantly shape the depiction or absence of their depiction in the art of a society. Finally, considering the innovation in the topic of this research, the importance of comparative studies in Islamic and Christian art, particularly regarding the representation of women in these areas, becomes apparent. Although the depiction of women in the two religions and cultures differs in clear ways, there are many shared concepts, such as sanctity, purity, beauty, and faith, reflected in these images. Thus, this research leads to a deeper understanding of the cultural and religious influences on the depiction of women in religious art and shows how these works reflect religious and social perceptions of women’s roles in the divine realm and after death. Ultimately, this contributes to a better understanding of how cultures influence each other and how various artistic methods portray women in Heaven. زن در فرهنگ و هنر جایگاه ویژه‌ای دارد و از ادوار پیشین تا عصر حاضر منبع الهام و آفرینش بوده است. این جایگاه در متون مقدس نظیر معراج‌نامه‌ها نیز مورد توجه واقع شده است. از این معراج‌نامه‌ها می‌توان به کمدی الهی دانته اثر گوستاو دوره و معراج‌نامه میرحیدر اشاره کرد. هر دو نسخه در فضای دینی خود، زنان مختلفی را در دوزخ و بهشت به تصویر کشیده‌اند، که نمایانگر تفکر و نگرش ادیان و فرهنگ ایشان درباره آن‌هاست. پژوهش حاضر با هدف مطالعه نشانه‌های به‌کاررفته در تصویرگری زنان در بهشت، و میزان اثرگذاری نگرش ادیان در تصویرگری زنان، به مطالعه دو نسخه می‌پردازد. سؤالی که مطرح است، 1. جایگاه فرهنگی و دینی زنان در دو نسخه مصور معراج‌نامه میرحیدر و کمدی الهی دانته چگونه بازتاب یافته است؟ 2. نگارگران، زنان را در نگاره‌ها چگونه به تصویر کشیده‌اند؟ روش تحقیق از نوع کیفی و با رویکرد نشانه‌شناسی فرهنگی لوتمان، روش گردآوری داده‌ها از منابع کتابخانه‌ای و آنلاین و جامعۀ آماری نگاره‌های موجود در دو نسخه، با محوریت نقش زنان می‌باشد. یافته‌ها: با وجود تفاوت تصویر زنان در دو دین و دو فرهنگ، شباهت‌های زیادی از نظر قداست، پاکی، زیبایی و ایمان قابل رؤیت است. در معراج‌نامه نهایت قدسی بودن زن در اولین زن مسلمان، سمیه، تصویر شده و در کمدی الهی در حضرت مریم تجسم یافته است. در معراج‌نامه هنرمند باتوجهبه فضای حکومتی آن دوره، درنهایت با نشانه‌های موجود در جامعه و تفکر خود، به خلق نگاره‌ها پرداخته است. در کمدی الهی نیز باتوجهبه تأثیر دانته از فضای معراج در اسلام، درنهایت این هنرمند تصویرگر بوده که با شیوه بیان‌گرانه و معطوف به فرهنگ دینی خود به خلق آثار مبادرت ورزیده است. https://rph.soore.ac.ir/article_725421_400f3b8471c0112a0dda51e6d46e3887.pdf

دانشگاه بین المللی سوره رهپویه حکمت هنر 2980-812X 4 2 2025 09 23 An Analysis of the Visual Elements of the Tabarzin Preserved in the National Museum of Krakow, Poland, from the Perspective of Sufi Mystical Concepts تحلیل عناصر بصری تبرزین محفوظ در موزه ملی کراکو لهستان از منظر مفاهیم عرفانی متصوفه 161 172 725670 10.22034/rph.2025.2062696.1151 FA مرجانه نادری گرزالدینی مربی، عضو هیئت علمی گروه هنر، دانشگاه ملی مهارت، تهران، ایران. 0000-0002-3869-0292 ناهید جعفری دهکردی استادیار عضو هیئت علمی گروه صنایع دستی، دانشکده هنر و علوم انسانی، دانشگاه شهرکرد، شهرکرد، ایران 0000-0003-1828-9159 Journal Article 2025 06 04 Within the scope of Islamic art—particularly in the visual culture of Iran—numerous objects that initially served simple, utilitarian purposes have, over time, transcended their material functions to become vessels of profound mystical and religious meanings. One such object is the <em>tabarzīn </em>(a battle axe), which has evolved far beyond its martial origins. Once a weapon of war, the <em>tabarzīn</em> gradually assumed a symbolic role within religious beliefs, Sufi practices, and esoteric traditions, eventually transforming into a richly meaningful and emblematic artifact. Among the remaining historical examples of the <em>tabarzīn</em>, a unique piece from the Qajar period preserved in the National Museum of Kraków in Poland has drawn considerable scholarly attention. Originally designed as a hybrid of an axe and a spear, the <em>tabarzīn</em> was employed in ancient Iranian cavalry for breaking through enemy armor. Later, in Sufi rites and among dervishes, it became a symbol of spiritual power and valor. This Qajar steel <em>tabarzīn</em> is a compelling embodiment of mystical, mythological, and Shiʿi concepts materialized in the form of a ritual object. Through techniques such as gold inlaying and diverse ornamentation, the weapon reveals significant artistic and ceremonial attributes. Measuring 86.5 cm in total length, with a blade edge of 24.4 cm and a head width of 10.5 cm, the axe features a large, curved, and pointed blade adorned with gilded patterns and arabesque motifs. The metal shaft is intricately carved and decorated with golden inlays. At the junction between the blade and handle, one finds an engraved lotus flower. On the front, the axe displays a horned dragon’s head with an open mouth, within which lies a demonic figure depicted with a human body and two horns. At the topmost section is a flame-shaped plaque showcasing miniature enamel portraits of Imam Ali and his sons Hasan and Husayn, encapsulated within a solar disk bearing a human face and golden embellishments.<br />The tabarzīn under discussion, with its intricate design, rich symbolism, and extensive inscriptions, stands as a quintessential example of ceremonial weaponry from the Qajar era. Beyond its technical mastery and aesthetic refinement, it serves as a compelling entry point for exploring the interplay between visual elements and religious belief. Though ostensibly a weapon, this artifact transcends its material function, employing imagery and allegory to express themes of spiritual journey and Shiʿi cosmology.<br />In this context, the analysis of such an object is not only significant from a historical or aesthetic perspective but also becomes a scholarly necessity. The study of these types of artifacts allows for a deeper understanding of how Shiʿi, mystical, and mythological thought took shape within artistic forms, demonstrating how abstract metaphysical ideas became embodied through tangible, symbolic objects. Furthermore, a deeper exploration of this artifact’s semantic layers addresses the scholarly gap in integrative analyses of symbolic systems in Qajar-era ritual objects.<br />This research is fundamental in nature and adopts a descriptive–analytical methodology. Data collection has been based on documentary sources. The selected object—namely, the Qajar-era <em>tabarzīn</em> preserved in the National Museum of Kraków—has been purposefully chosen as a distinguished specimen of symbolic and conceptual significance among dervish axes. The analytical approach is qualitative, focused on iconographic and symbolic interpretation supported by mystical texts and art-historical sources. This methodology aims to reveal the semantic depths, interpret visual codes, and uncover the interrelations between art and religion in the cultural context of the Qajar period.<br />This study centers on the question of how the Qajar tabarzīn housed in the National Museum of Kraków can be examined through a multidisciplinary approach—integrating art history and religious studies—to uncover its semantic and cultural dimensions. The research seeks to illuminate the interplay between form, content, and belief, aiming to construct a holistic understanding of the artifact’s significance within Shiʿi culture and Iranian mysticism. The central research question asks: In what ways does this particular tabarzīn embody mystical and religious concepts, and what layers of spiritual journey, cosmological structure, and sacred narrative emerge through its interplay of imagery and meaning?<br />The findings suggest that Sufis, guided by divine love and genuine knowledge, prioritize the inner dimensions of Islam as central to their spiritual path. Their practices are rooted in the Qur’an, hadith, and the Prophetic tradition, which emphasize purification of the heart and liberation from the ego. From the Sufi perspective, the Prophet Muhammad, the infallible Imams, and saints are chosen figures whose emulation leads the seeker safely through the hazards of the mystical journey. Accordingly, the artifact under study is both aesthetically and technically remarkable, crafted to visually express core Sufi doctrines through symbolic representation of profound mystical truths.<br />Since the mystical world pertains to inexpressible spiritual experiences, symbolism serves a crucial semantic function in representing abstract concepts. Islamic mysticism perceives the universe as imbued with concealed meanings, accessible only through inner vision. Such ineffable experiences can only be conveyed through metaphor and symbolic imagery. In this view, a symbol renders the intangible perceptible. Sufis regard the material world as a shadow of the spiritual realm. While the Absolute cannot be visualized, the artist, through allegorical and symbolic imagery, leads the viewer beyond the tangible toward metaphysical reality. Symbols thus serve as vessels for eternal truths and gateways to the inner world.<br />Essentially, the artist behind this piece has sought to embody the obstacles along the spiritual path through metaphorical forms rooted in ancient Iranian mythological narratives. Within the belief system of Sufism, the function of the <em>tabarzīn</em> symbolizes the struggle against the base self (<em>nafs al-ammārah</em>)—a notion that echoes Rumi’s assertion that “the mother of all idols is the idol of the self.” Consequently, the mystic must, like Abraham, destroy these inner idols to achieve ultimate bliss and salvation. The harmonious interplay of ornamentation and imagery in the <em>tabarzīn</em> creates a visual network that reflects the path of human transcendence.<br />The results demonstrate that this Qajar-era tabarzīn is far more than a decorative or military implement. It possesses a symbolic and complex structure embedded in the ideological framework of Shiʿi thought, Islamic mysticism, and Iranian mythology. The analysis of its visual and symbolic components—including anthropomorphic, celestial, supernatural, and botanical motifs and inscriptions—reveals the tabarzīn as a ritual and visual text that embodies themes such as the struggle with the self, spiritual journey, the emergence of the perfect human, and the link between the physical and metaphysical realms.<br />The synthesis of these motifs with Shiʿi iconography, calligraphy, and formal arrangement indicates the artist’s deep understanding of the symbolic and metaphysical traditions in Iranian–Islamic art. Ultimately, the study concludes that the <em>tabarzīn</em> reflects key concepts in Shiʿi metaphysics and represents a mystical worldview based on oppositional forces, inner purification, and sacred unity. A comprehensive and nuanced understanding of such artistic works is achievable only through interdisciplinary approaches that integrate aesthetic, cosmological, and spiritual meanings within their historical and cultural contexts. تبرزین، سلاحی ترکیبی از تبر و نیزه، از دوران باستان در ایران برای نبردهای سواره و شکستن زره دشمن به‌کار می‌رفت. این سلاح بعدها در آیین‌های عرفانی و میان دراویش نیز به نمادی از قدرت و شهامت بدل شد. تبرزین فولادی دوره قاجار که در موزه ملی کراکو در لهستان نگه‌داری می‌شود، نمونه‌ای برجسته از تبلور مفاهیم عرفانی، اسطوره‌ای و شیعی در قالب یک شیء هنری است. پرسش اصلی پژوهش آن است که تبرزین مزبور چگونه مفاهیم عرفانی متصوفه را در قالب صور نمادین بازنمایی کرده است؟ هدف این پژوهش، شناسایی مفاهیم عرفانی متصوفه در عناصر بصری تبرزین مورد نظر است. روش پژوهش نیز به شیوه توصیفیـتحلیلی، با تکیه بر منابع مکتوب عرفانی و با رویکردی نمادشناختی انجام شده است. نمونه مورد مطالعه تبرزینی است که با نقوشی چون اژدها، دیو، نیلوفر، خورشید، شمایل حضرت علی^(ع) و حسنین^(ع) و کتیبه نستعلیق تزیین شده و در ساختار خود جلوه‌ای از ستیز با نفس اماره، جهاد اکبر و سیر و سلوک عرفانی را در پیوند با مفاهیم هنر اسلامی، حماسه‌ای و اسطوره‌ای به نمایش می‌گذارد. یافته‌ها نشان می‌دهند که این اثر به واسطه نمادپردازی چندلایه‌اش، بازتابی از اتحاد بین صورت و معنا در هنر شیعی بوده و هنرمند با بهره‌گیری از عناصر مقدس، تجربه سلوک عرفانی و وصال حق را به زبان تصویر ترجمه کرده است. https://rph.soore.ac.ir/article_725670_60b8c4a0c0862e9d421c3fd0dd8d19d2.pdf