درخت حوزه‌های تخصصی

Art and literature have always been applied as a favorite way of conveying human experiences through centuries to next generations. However, sometimes they have been not used as art for art’s sake. Utilitarian literature and art have usually been abused to misrepresent facts and real human history. World War I was a catastrophic disaster for the whole world, especially for the Muslim people living in the Ottoman empire territory and neighboring regions. Since then the separated small countries have been suffering periodical catastrophes afterword. Literature and art, consequently, were affected by them. According to the attitude of the literary figures and artists toward those historical experiences and human sufferings, their productions have tried to be effective on the world’s attitude toward those events. Ararat is one of them. It is an Armenian movie that was produced in Canada and won 2003’s Canadian Film Festival first prize. The main character of this movie is an Armenian young boy who travels to the city of Van in Türkiye and remember his nation’s past experiences during World War I in the city, according to the producers’ point of view. The main episodes are the flashbacks to the war between Armenian people and Turkic troops in Van through which war crimes are depicted to arouse the audience’s hatred toward Turks in the world. The film producers have inefficiently tried to produce a show through which make the world believe that there has been a genocide by Turkic troops against Armenian people living in the region during World War I. While western world is trying to condemn all hate speeches toward other races, ethnicities and nations around the world, the production of such a film in a country which obviously declares herself as one the most democratic countries in the world does not seem so appropriate to their democratic slogans. Through this essay the researcher will try to analyze it and depict some facts that the producers have tried to misrepresent. Because it is a movie that has dealt with the relationship between the Ottoman Empire and the Armenians living in the territory before World War I. 

The paper at hand deals with Zoroastrian eschatology. Frashokereti, as it is called, is the term which is used in Zoroastrianism in order to express the end of times. This being the main focus of the current paper, the topics that will be unfolded are the arrival of the Saoshyant, who is the central Zoroastrian salvific figure and Zarathustra’s biological descendant who has been miraculously born of a virgin, the resurrection of the dead, their last judgement and the final battle between the forces of good and evil. The general clash between good and evil acquires a more precise character and becomes personified in the deities of Ahura Mazda and Ahriman respectively, the fundamental sources of morality and immorality. Regarding the above, the interrelated themes of man’s salvation and the restoration of the universe to its primary undefiled state are presented as results of the victory of good over evil. It will also be displayed how the concept of universal renewal is viewed not merely as a countdown, but moreover as a stepping-backwards to the conditions of the first state of creation, Frashokereti becoming thus a mirror of the first things in terms of Zoroastrian cosmogony. At the same time, other aspects, namely the Zoroastrian story of creation, its corresponding cosmology, the dichotomization of the world into two opposite spheres and the dualism that penetrates the universe in relation to the free will of man are introduced to the reader, so that a deeper understanding may be acquired in regard to the ways, the quality and the content of universal purification and renovation.

Khalifeh Kandi village is located in the southeast of the Sahand mountain range and northwest of Hashtrud province. Investigation at these sites started in 2013 and continued until 2015. Obtained evidence included a variety of potteries, carved stones, and caves from the historical and Islamic eras. in this paper an attempt has been made to introduce and analyze cultural and historical founds. The result shows that most of the surveyed sites and places around Khalifeh Kandi, in terms of pottery types, belonged to the Islamic period and rarely, artifacts from the pre-Islamic period were observed. The settlements identified in the area under study are mostly located in w slopes by the river and shallow valleys, and only one of these archaeological sites was observed in flat and elevated lands. probably this site was used in certain seasons of the year. Glazed and simple pottery from the Islamic period and rough pottery that was produced in local workshops are among the artifacts observed in the surveyed sites.

Emphasis on the importance of social-political fabric and its effect on the urbanization and economic system that are aspects of urbanization life is one of the necessities during the Achaemenid Period. This study was conducted based on the deductive-inductive method. First, written sources (clay inscription of Persepolis and classic authors) have been used to achieve general information about the social-political fabric of Fars during Achaemenid Period then archeological evidence remained from the economic system of Achaemenid period in Central Fars was analyzed within this framework. No coin, including Shahi or so-called Satrapy, has been discovered from archaeological excavations in Iran, even. It seems that Achaemenid Empire had no plan for monetary economic development, and coin promotion and use in transactions despite its wide territory and regular discipline. On the contrary, it seems that Darius and his successors considered coin as a political instrument used to convey and show the message of the political and military power of the Achaemenid king at that ear not as a tool for the economic system. Therefore, studies focused on clay inscriptions of Persepolis and evaluated works of authors indicate that the sociopolitical fabric of Iranian society, especially Fars has been traditional and based on agriculture and husbandry during Achaemenid Era. As we know, the city was not shaped during the Achaemenid period despite the presence of urban structures, such as social sophistication, specialism, and the modern administrative system of the ear; therefore, coin use was not institutionalized in the economy of that era.

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

 Mythologies are closely related to each other because of the archetypes, and due to time, place, and specific geography, they appear in different forms in different peoples. Gilgamesh is considered the oldest Mesopotamian epic poem whose image can be seen on Lorestan bronzes in the second and first millennium BC in the form of a horned man supporting, killing, or taming animals. Identifying the visual relationship between the role of the horned man in Lorestan bronzes and Gilgamesh in Mesopotamian works in order to discover the common intellectual heritage between these two regions is the main goal of this research. The main question of this research is about what and why are the technical and visual similarities and differences of the paintings, which have dealt with the background of Gilgamesh's role in the Mesopotamian civilization with a descriptive-analytical method, and then, with an analytical method, he analyzed the relationship between the role of the horned man in Lorestan's bronze works and the role of Gilgamesh in Mesopotamian art based on the theory of pre-textuality. The results show that the artist of Lorestan created a work of art under the influence of Mesopotamian mythology and art which are similar in visual and narrative components, but according to the culture and customs of the region, differences can be seen in the performance style and the structure of the topics, which shows that Lorestan artist did not imitate Mesopotamian themes. Rather, it has created a new work of art by creating transformational relationships with changes in the pretext.