Asian Culture and Art Studies (Motaleat-e Farhang va Honare Asiya)

Abstract In this study, interdisciplinary approach was used to analyze Ardaviraf's poems and illustrations from the Manchester Library of England. By considering the study body of Indian culture and art as well as the two different sign systems of verbal and image text, intertextuality was explained and intertextuality was defined according to the study body of the present study. For the study of the statistical sample consisting of 7 pictures on the subject of guilty women with the aim of examining the important components of the verbal and visual text and the recognition of the manuscripts of this manuscript, the data were collected using books, articles and internet data.In the first step, the textual and textual conditions of Indian Persians are analyzed. After explaining the verbal text, the visual text is examined and the important and effective components between the verbal text and the visual text are revealedVerbal text and image text belonged to two different times and places, so intertextuality was intercultural and India's influence on the paintings was evident. Time and place and action were the same in both texts and intertextuality was explicit and textual. An image dominated the verbal text

Abstract Coverage is one of the topics that varies according to the geography and culture of each region. This issue has not only been affected by geography, but also by factors such as religion. Among the periods discussed among historians are the periods of the Qajar rule in Iran and the period of the fall of the Ottoman Empire in Anatolia. Women in these governments have been an integral part of society. With the advent of Islam and its acceptance by the Turks and Iranians, Islamic-Arab customs and traditions have been seen in the governments formed in Iran and Anatolia. The rules of Islam have been seen in every field, especially women's clothing. With the rise of the ideology of modernism in the world in the 18th century, the Ottoman and Qajar governments were not unaffected. Women's clothing was one of the things that changed. How women dressed in the Ottoman and Qajar rule is one of the issues that have been studied. This research seeks to answer questions such as the type of women's clothing in the mentioned periods and the answer to the extent of the influence and influence of these governments from other new cultures that emerged after the 1789 French Revolution in the world. In addition to the use of library resources, the resources of the National Archives of the President of Turkey in Istanbul have also been used to investigate this issue.

Abstract  
Haji Abdol Azim Sharii (death: 1894) is the first biography writer of the literary environment of Bukhara that played a significant role in the second half of the 19th century to spread the idea of biography writing as a genre in Transoxiana through being inspired by Vazeh Bukharayi and other Iranian contemporary writers. There is little known about this biography writer and his biography. This study aims to analyze the life of Sharii and his biography. The study employs content and genre analysis to pursue the following questions: Could we understand the real identity of Sharii? What are the Sharii's criteria to write a biography? The findings show that Sharii is an Iranian from Bukhara. His identity is still vague after one and a half century after his death. The study analyzes his criteria considering nine aspects: 1. penname, 2. racial and family relations, 3. literary and ideological ties, 4. birthplace, birth and death date, 5. occupation, studies, teachers, students, and contemporary figures, 6. other poets' works, 7. ties with the government, 8. rhetoric of biography writing, and 9. language.

Abstract Flag is a distinctive and distinguishing element among human civilizations and cultures, which can be considered as a symbol of the alliance of a civilization bearing a particular ideology during each era and being the source of the intellectual foundations of the earlier ages. The formation of the Safavid era in the tenth century AD, brought about political, cultural, and religious solidarity for Iran, so that the consolidation of Shiite-Islamic thought is visible in the works of this period, especially in manuscripts. One of the most outstanding Iranian manuscripts is Shahnameh of Shah Tahmasb which was portrayed in that era. The written elements on the flags in the combat scenes of the book clearly explain the religious contents of the period, which benefited greatly from the art of calligraphy. Identifying the flags and the concepts used in their illustrations, the present research explains the visual and expressive aspects of the flags involving written texts in Shahnameh of Shah Tahmasb. Therefore, this study has three main questions: 1. what are the most important visual components of the flags in the Shahnameh? 2. The writing elements of the flags of Shahnameh of Shah Tahmasb involve what literature, content, and content? 3. What are the intellectual foundations of the illustrated flags of Shahnameh? This research has been done through a survey-analytical method. The type of technique used is a documentary and library technique through which the statistical samples of manuscripts have been studied. Research is based on first hand resources and authentic researches. The results of the research indicate that the flags have been written by characters such as Naskh, Thallith, Nastaliq and colored by colors such as Azure, Gold, Sangrf, and decorated by Khatay and Slymi figures. The writing elements of the flags are in line with the beliefs, cognitions and intellectual foundations of the Safavid era as well as the Iranian originality and reflect the artist's dedication to the religion of Islam and the preservation of Iranian culture

Abstract The Yazdgerdi calendar is one of the ancient monuments of the Iranian intangible heritage that has maintained its function both in the economic and scientific area of ​​the Islamic world and in the religious domain of the Zoroastrian world. and every times,                                                                                                                                                    based on the needs of users, it has changed. Each reform had its own consequences and had a special impact on the user community. For example, Moʽtazedi's reforms took the economic function of the Yazdgerdi calendar. And according to the place of the five days of andargāh in end of Aban or Espand,  the reforms of the year 375 divided Zoroastrian society into two parts, the eastern and western parts. Or, the emergence of the Jalali calendar and Malekshah's reforms in the fifth century AH removed Iranian calendar from Zoroastrian society.
One possible reform is the leap of year 500 in the Yazdgerdi calendar and within the legacy of Zoroastrianism. What we read in this essay is about that event and its aftermath have affected the Zoroastrian world to the present day. In the 18th and 19th centuries, this reform divided the Zoroastrian community of India into two parts.
 

Abstract Cities, like humans, have independent and different identities. Urban identity includes the characteristics that distinguish a city from other cities. The issue of urban identity plays a key role not only in identifying cities but also in the process of identifying citizens and strengthening urban culture. The identity bases of cities have been formed under the influence of natural, artificial, human and historical events. These elements play an important role as meaningful signs in reading the meanings hidden in the physical space of the city and understanding the differences and continuity of cities. The purpose of this article is to analyze the explanatory signs of urban identity in Tehran during the Qajar period and how they function. The method of this research is historical-interpretive and based on the approach of urban semiology. In this approach, the existence of signs and meanings of physical elements for reading the environment and understanding the identity-building components of Tehran in the Qajar era has been investigated. The findings of this study indicate that symbolic symbols, due to their historical, cultural and mythological origins, have a greater explanatory capacity in representing the identity components of Tehran in the Qajar era. In the process of semiotics of Tehran urban spaces in this period, some inconsistencies of signification and function can be understood only through historical significations.

Abstract For ages, there had been strong ties in terms of various fields such as economy, politics, culture, etc. between Iran and China, as two great civilizations. Two main factors seem to be a base for these widespread communications: first, the Silk Road and second, their adjacency and proximity.However, although from distant past other areas had been overshadowed by economic relations, it does not mean that other links between the two countries, especially cultural ones, had been ignored; rather, the expansion of economic relations could somehow be considered as a context for cultural links.After Islamic period, cultural ties became different and wider. The expansion of Farsi in China, especially western parts, as a result of this cultural relations is noticeable. Farsi domain influence seemed to be limited to these areas. However, discovery and exploration of inscriptions, not only revealed some new facts, but also showed a deeper influence of this language in China. In seven inscriptions of Hangzhou Epitaphs, 81 Farsi verses in the forms of Ode, Ghazal, Stanza, and Quatrain were found, out of which 61 verses are legible and non-repetitive. Here, the influence of Saadi's words is obvious. Although the presence of Iranian traders can be evidently concluded through these inscriptions, the influence of Farsi should not be exclusive to them. This study, looking into cultural relations between Iran and China, investigates Hangzhou epitaphs and based on textual and historical evidence, concludes that for some time Farsi language has been common in this area.

Abstract The main purpose of this study is to identify and rank the components of cultural diplomacy in Iranian cinema. The present research is applied in terms of research purpose and descriptive-survey research in terms of research topic and questions. Data collection tool included a questionnaire based on pairwise comparisons which was graded on an hourly scale. The statistical population studied in this study consisted of experts and experts in the field of cinema and diplomacy. Snowball sampling method was used to select the sample. In the first stage, 21 indicators were identified from the perspective of experts using the Delphi technique. Then, using hierarchical analysis technique, the main dimensions of cultural diplomacy were ranked. The results showed that according to the experts, religious identity with a normalized weight of 0.360 is in the first priority. Cultural dimension Cultural diplomacy with a normalized weight of 0.306 is in the second priority. The technical dimension of cultural diplomacy with a normalized weight of 0.152 is in the third priority. The political dimension of cultural diplomacy with a normalized weight of 0.111 is in the fourth priority. National identity with a normalized weight of 0.071 is in the fifth priority. Due to the incompatibility rate of 0.05 in this ranking, there is complete compatibility between the pairwise comparison of the models.

Abstract Samurai genre, as one of most important parts of Japanese cinema history, had a significant role, in its seven decades of life, in emerging artistic threads in Japanese cinema, binging about a relative economical constancy for this cinema, and attracting attentions around the world to this cinema. Since genre studies in cinema mostly have been concentrated on Hollywood, especially on its studio system period, other cinemas, including valuable genres like Samurai genre in Japan on which great filmmakers from Mizoguchi and Kurosawa to Kobayashi and Oshima made films usually were neglected. This article applies Semantic/Syntactic approach of Rick Altman in genre theory, which regarded by genre theory experts most authentic theory for explaining cinema genres, into Samurai genre. So we will analyze this genre through the approach in two semantic and the syntactic sections by a descriptive/analytic method, and finally will provide a general vision of the class of this genre.

Abstract This paper analyzes the role of stamping of Qajar period milk and sun; the study of motifs in different periods has long been considered by researchers and researchers in artistic research. Drawings of ancient and historical works are considered as visual documents, whose study can be considered in the presentation of information about the time of occurrence of the work. Therefore, motifs and images of the stamps can also be in the form of a work, reflecting the cultural, artistic, social, and ... attributes of its origins. The research problem was focused on the relationship between these designs during the Qajar era by analyzing iconography. Accordingly, the researcher claims that the emergence of stamps from the beginning was due to the presence of governing systems largely imprinted on the images of rulers, national motifs, and sometimes include important figures and individuals of their era; in this regard, to explain the concepts behind the role and Stamp design in order to achieve the fundamental cultural and social values ​​and concepts of the current period. The present study focuses on the iconographic method in three stages of description, analysis and interpretation to the semantic understanding of the symbolic role of the relevant stamps in the Qajar period. The results show that the sun and milk designs are rooted in the myths and beliefs of the ancient Iranian people, which, due to its importance and value, have evolved throughout history, and as a national symbol on the plain, coins, badges, stamps and ... Picture Has been.

Abstract Integrating insights from cultural geography into peacebuilding practices can significantly enhance their effectiveness. By focusing on these insights from cultural geography, peacebuilders can create communities that are not only resilient to conflicts but also thrive through diversity and cooperation. Understanding the social, historical, and spatial dimensions of these concepts allows for the development of more precise and impactful approaches to establishing and maintaining peace in different societies. Accordingly, the present article, relying on a descriptive-explanatory method, examines the interaction between cultural geography and peacebuilding and argues that by embracing and recognizing aspects such as cultural identity, place-making, cultural heritage, intercultural dialogue, the importance of bottom-up peacebuilding, and understanding the significance of the environment, peacebuilding efforts can create environments where diverse communities coexist peacefully. These strategies not only address immediate conflicts but also contribute to a long-term resilience and social cohesion. In a world still grappling with numerous challenges, learning lessons from cultural geography as fundamental principles will be effective in shaping a peaceful future.

Abstract The history of Chinese philosophy clearly shows that one of the most concerns for people of the region had been adaption of human with nature and society. In the field of art and painting, it can be concluded that for them, nature is very much the same as ink brush painting. Both nature and the paintings are a symbol of beauty and harmony of the cosmos. Thus, this paper is based on the teachings of the Dao, the ideological influence in shaping all aspects of ancient Chinese culture, especially in the field of visual culture; the meaning of "nature" in Chinese landscape through coordination with it is studied. Conception of nature is related to spontaneity or spontaneous recall things and gets rid of the artificial matter. So when things being free to follow their natural path, moving in perfect harmony. Generally, Dao is symphonic with the nature of the course and flow of nature. The way Dao is in the Chinese art throughout history, e.g. natural and spontaneous course of things, and purpose of the artist's inspiration, stems from the notion of hidden power that touches the soul and variety it describes the different types of viewers. The purpose monk Dao should avoid is anything that is inconsistent with the nature. It is not nature that needs to reform and perfect, but it is “we” who need to change and we must adapt ourselves to do it. It should not be against nature and the nature of the way that artists go through. Artist should disappear in nature. The Dao School, as the driving principle of the universe (Dao) is defined as harmony between opposites that interact with each other (Yin and Yang). Balance between opposites is a natural force or spirit, called "chi" creates. Hence, landscape paintings (shan-shui) are also a reflection of the prevailing belief in the “Yin” and “Yang”.  

Abstract Since the studies on the arguments for the formation of the first city-states in the Mesopotamia have a comprehensive and practical scientific approach and each of the scholars from a variety of specialized angles such as history, archeology, and geography and so on. They have been abstracted and few comprehensive studies have been carried out in this area and some of the researches in Asian and ancient history can be read.
Good Examples of both strengths and weaknesses con be found in the book by Dr. Guillermo Alghaza, a Cuban anthropologist and professor at the University of California, San Diego, entitled “Ancient Mesopotamia at the Dawn of Civilization: -The Evaluation of the Urban Landscape” .The name, published by University of Chicago in 2008. Contained remarkable scientific point and analysis.
In present article examines the framework of the research method and the themes of this research in order to open a different window from the research on the subject of ancient history.

Abstract Myths have such a special place in people’s thoughts and beliefs that by which one can promote a way of thought among people and sometimes dispatch a way of thought into oblivion. In line with this, Japanese writers and artists have successfully included such a goal in their dramatic and visual works – among them animations – and tried their best to present it in new formats to their viewers. Manga, as a traditional designing style in Japan, which depicts various social questions in a fractionated manner in a single frame, has been used in Anime, the Japanese animation. The style in question has managed to build on Japan’s culture and myths to influence its audience at home and abroad. Naruto is one outstanding example of such works. The current research aims to identify the myths in the Japanese culture and analyzes them in Anime Naruto series. The researcher has applied a qualitative method with a descriptive approach based on reviewing library references, as well as archived audio and visual works. The research focuses on a review of Anime Naruto and the impact of cinema and Japanese myths on it. The results of the research show that cinema has left an impact on the Anime thanks to its realistic attitude. This advantage has in turn made Anime Naruto a believable animation series for different audiences

Abstract Folk tales have always been explored in many ways. One of the viewpoints that can be explored in folk tales is the attention to cultural similarities and differences between folk tales in the two countries. Because folk tales show an unadorned picture of people's lives, these studies can reveal a profound understanding of the cultures of different ethnicities.
The structure and content of each story have its cultural components. In this research, the structure and content of folk tales of Iran and India have been studied using conventional qualitative content analysis method.This study is based on twenty stories (ten stories from each country) in elements such as plot, active characters, structure, subject, and theme. The result shows that despite many similarities, there are fundamental differences in the structure, characters and content of the two countries' tales that represent the different cultural origins of the two nations.
Keywords: Folk Stories, Structure, Content, Conventional Content Analysis, Indian Tales, Iranian Tales

Abstract Modern man in today’s crowded society and world is full of repressed desires and emotions. He is always trying to find a way to get out and eliminate his unpleasant feelings. For this reason, it is possible to turn to cases that are reprehensible in society and in terms of moral and human values, one of the ways to achieve the emotions that have accumulated deep within human beings is to identify with various fantasies with the help of imagination. This can be done with the help of black cinema. The frames and scenes in the black anime convey feelings such as fear, disgust, emptiness and emptiness due to their aesthetics and unique structure, according to their content and content. Grotesque’s works have the same function, and it can be said that some Japanese animations are imbued with elements of grotesque.    The purpose of this study is to investigate the structure and nature of animation, especially Japanese anime, and to investigate the influence of Grotedque on characterization, space making and narration of black works which is done in a descriptive and analytical manner. Understanding the function of the elements of grotesque in films requires analysis.

Abstract KushNameh is a heroic poem and its subject is the adventure of an anti-hero called Kush-e Pildandān, which spent most of his life fighting the children of Jamshid and the Iranian heroes. In addition to KushNameh, other Iranian heroic texts also contain numerous narratives about the Pildandān, which often differ from that of the poem, especially that in this category of sources, there are numerous stories about the end of his life and how he was killed. One of the ambiguous points about KushNameh, and especially its hero, is the origin of the narratives that are often disagreed among scholars, and scholars have stated hypotheses such as the connection of Kush stories to the Koshan kings or, his Sam strips. In this paper, first, the stories of the Kush-e Pildandān in the Iranian heroic literature are examined and several theories about the story are addressed, and then evidence about the possible origin of the anti-hero narrative are provided.

Abstract The era of Akbar shah (Akbar the great), the third Indian ruler of Timurid, is known as one of the most important and prominent governments in Indian history, due to Akbar’s particular political and religious views. Universal peace and reconciliation, religious tolerance, mystical beliefs, astrolatry, loving Iran and Persian language, holding ancient Iranian celebrations, Hezareh-telling, and reincarnation are the most important beliefs, desires, and virtues of Akbar-Shah.  In this paper, after a brief overview of Akbar-Shah's ideas that illustrates his efforts to put the views and beliefs of various religions and religions together, we attempt to scrutinize the relation between Akabar’s universal peace and the idea of the unity of the Azarkayvan religions

Abstract Abstract
Iranian rug enjoys various patterns and designs which indicate its ethnic as well as indigenous cultures. Chaharmahal o Bakhtiari and Faridan is one of the main and important regions of Armenian rug weaving in Iran. This article and paper attempts to identify and present the design, pattern and classification of the rugs of this ancient tribe. The study is descriptive in nature and takes a qualitative approach for data processing. In total, 27 rugs of this region are studied and the data are collected through library and field studies. The studied samples include cases from the market, looms, private homes, religious places and library sources. The results show that Armenian-woven rugs possess a specific pattern and design in which repeating, square and compartment designs are popular in Chaharmahal o Bakhtiari and those with natural flower patterns are popular in Faridan. The two regions share plant motifs in their designs and patterns.

Abstract Believing the crucial role of music in declining the level of stress on the one hand, and regarding it as both a cheap and adequate tool for instruction on the other hand have been led to creation of musical art during the pandemy of Coronavirus-covid 19. While such works have some artistic and aesthetic appeals in common, regardless of style and instrument, the content and theme their lyricists intend to introduce make them distinguish. These themes are various and include social concerns, political stances and educational and ethical issues. This paper is a contrastive analysis of two pieces of Iranian and Afghan lyrics to determine the linguistic features of art works in the different mental attitudes. The study has been conducted based on theoretical concepts of cognitive linguistics especially conceptual metaphor. The data of this qualitative research including the lyrics of Reza Sadeghi, an Iranian singer, and Farhad Darya, an Afghan on, has been examined by analytical method. The findings of present study suggest that, through the process of formulation of a specific metaphor for conceptualizing one single reality, the highlighting of various elements in the source domain leads to the promotion of opposing ideologies which in turn may form a complete antinomy.

Abstract A mosque is a place of worship and gathering of Muslims in Islamic cities, which usually has a high position among urban or rural elements. In Iran, tiles are used both for decoration and for building strength. In most cases, tile art is used in pattern decorations inspired by motifs and colors with the geometric structure of the sun in the tiling of mosques. In the Islamic era, inscriptions became important due to the importance of calligraphy and the prohibition of painting. The decorations of the inscriptions are obtained by mixing and juxtaposing lines and motifs, and they were worked with different materials and materials according to their time, place or position. The results of this research, which is qualitative-analytical and descriptive, show that in Nasir al-Molk Mosque, the western nave is different from the eastern nave, the garland and the pearl arch. Because from the point of view of simplicity in tile designs, it only has geometric designs and no inscriptions. But the tile motifs in the Eastern Shabestan, the garland and the pearl arch include plant motifs and animal motifs such as the nightingale, which is a feature of Qajar architectural motifs, are not seen. Among these plant motifs, the motifs of buildings and architecture in the European style are very prominent. In terms of inscriptions, according to the abundance, priority is given to the third script and then the Kufi script with themes of Quranic verses and supplications.

Abstract The warfare epistle movement in contemporary Afghan literature began with popular uprisings against the British, known as the First Afghan-British War (1242-1220 HS / 1839-1839 AD). The British colonial invasion to Afghanistan brought an epic and heroic spirit to the people of this land, leading to armed jihad and the creation of numerous epic poems. These poems are arranged in the meter and style, in accordance with Firdowsi's Shahnameh. The main focus of these war memoirs is on the bravery and quality of the Afghan people's struggle against foreigners, especially the British, and the family struggles of local rulers and kings. This descriptive-analytical research seeks to examine the role of war writing in reflecting the realities of contemporary Afghan political history. The results of the research show that the multiplicity of these genres testifies to the poets' historic need to preserve their national identity and their efforts to record and preserve the national unity, bravery and achievements in the epic genre. The acceptance and standardization of Ferdowsi's Shahnameh in Afghanistan is a major factor in the tendency of these poets to compose epic poems. Although none can be regarded as profound as Shahnameh of Firdowsi in terms of language, style and even in the equality of subject and yield. Nevertheless, some of these writings had and continue to have profound emotional effects among the Afghan people and arouse patriotism and a desire for national unity and independence in contemporary Afghan history.

Abstract In this study, we intend to make a comparative study of women's clothing in the reign of Safavid in Iran and the Ottoman Empire. Because of the long period of this government and to have a closer look at this issue, we limit ourselves to the reign of Shah Isma'il I to Shah Abbas II, which is coincided with the reign of Bayazid II to Sultan Muhammad IV in the Ottoman Empire. In some photos and paintings from the Safavid era and the era of Ottoman Empire some similarities were observed in the patterns and components of women's clothing, so this question raised that from which land these similarities land have been originated? In this research, through a descriptive-comparative method and based on library sources the similarities and differences of women’s clothing of Safavids and Ottomans are studied. The results show that the most of Ottoman women's clothing components are very similar to Iranian women's clothing in the Safavid era.
 

Abstract comparative literature is one of the most practical tendencies in modernliterature to study and study the similarities and differences of literaryworks of different cultures . khayyam 's thoughts are among the issuesthat have influenced the mind and type of many writers and literary men. one of those who have reflected in his works is william shakespeare .the present article aims at studying the similarities between khayyamand shakespeare using descriptive - analytical method and relying onthe american school of comparative literature to explore the similaritiesbetween khayyam and shakespeare . the results of the study indicatethat the amazement and bewilderment and pessimism of shakespeare , like khayyam , are born in convulsions and insecurity of the socialsituation which has undergone changes in religious view . they see bothhumans in the universe of ghosts and images that come without a goalwithout a destination . another common thought is the invalidity of the world and the lack of trust in it . khayyam has repeatedly mentionedwhat credit the world has . shakespeare also has a similar thought withkhayyam ; the invalidity of the world can be clearly seen in his plays ,especially hamlet and macbeth . the hadith of death and the impotenceof mankind against that view of khayyam to life is a bad idea . the battlewith the fate in shakespeare , especially in hamlet , is identical to the thought of khayyam .

Abstract Painted-screen storytelling has been derived from dramatic storytelling or Naqqaali which has used to be performed throughout Iran from ancient times. Its specific structure is applying a painted-screen to which the reciter refers from time to time during his performance. The main purpose of this research is revealing the evolution path of religious painted-screen from the very beginning till the end result: a painted-screen with so many scenes. It seems storytelling scrolls (Tomar) and Shabih-khani (Ta’ziyeh) play a very important role in final form and the content of these painted-screens. Like scrolls, every painted screen is comprised from a main story and so many minor stories. But the minor stories in painted-screen do not have organic relationship. It is reciter who refers to the main story (painted at the middle of the painted-screen) On the other hand, the main story and lots of minor stories in every painted-screen have been borrowed from Shbih-khani. Besides, at the heart of the religious painted-screen there are big holy figures that can be seen vividly by audience all the time. This means whether the reciter tell the story of Karbal or not, the audience feel the presence of key religious figure during time.