leila elahian
Abstract
Indian subcontinent in the tenth has been one of Persian language and literature flourishing centers, somewhere far from its homeland. “Golbadan nameh”, the first Persian lady_written prose, which is belonged to this period, has been written by a non-Iranian lady. Golbadan as a woman with ...
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Indian subcontinent in the tenth has been one of Persian language and literature flourishing centers, somewhere far from its homeland. “Golbadan nameh”, the first Persian lady_written prose, which is belonged to this period, has been written by a non-Iranian lady. Golbadan as a woman with social prestige and observer of events, left memoirs of behavior of his father, Baber, and his brother, Homayoun. But it seems that this book is more than a memoir, it seeks to highlight, hide, or change things in a feminine way. The question of the present study was what historical-cultural issues “Golbadan nameh” addressed, especially in showing the ever-hidden part of governments, namely women, the interior and their relations, from a woman's point of view and in this way how the author has presented a historical narrative of his father and brother. For this purpose, after representing the historical content of the book, two issues worth considering, the position of women in the court as well as the beliefs and rituals that are represented during the represented memories, was investigated. As a result, it was found that the characters and presented memories are usually chosen based on the family relationship with the present king (Akbar Shah) and from a feminine perspective, the author seeks to prove the legitimacy of Homayoun Shah's rule, the loyalty of his other brother, Handal, their deep intimacy, and their efforts to honor women and family relationships.
Elham Eil; Mohammad Aref
Abstract
The present article tries to study the analytical and cognitive symbol of the color of pomegranate film, a work of Russian-Armenian director Sergei Parajanov from the point of view of symbolic anthropology. Symbolic anthropology, which has been created along the lines of the 1970s and with the efforts ...
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The present article tries to study the analytical and cognitive symbol of the color of pomegranate film, a work of Russian-Armenian director Sergei Parajanov from the point of view of symbolic anthropology. Symbolic anthropology, which has been created along the lines of the 1970s and with the efforts of thinkers such as Geertz, Theres and Douglas in the humanities, sees culture as a set of meanings that are understood and interpreted through symbols and symbols. The cinema is also used as a textual media for transmitting cultural meanings. One of the most suitable tools for analyzing cinematic texts is the use of semiotics, which is a cohesive and fruitful way in cinematic studies. Pomegranate, a film adapted from the life of Sayat Nawa (Armenian poet of the eighteenth century), is a mixture of evangelical symbols, religious portraiture, indigenous art and Armenian folk architecture. This article is based on the Clifford Geertz view, using qualitative content analysis and library methodology, with the approach of symbolic anthropology. The findings show that Parajanov is an expensive Armenian ethnographer who has well-known ethnic and ethnic elements in Armenia, and has witnessed the transformation of indigenous, religious, and religious symbols into the life of the Armenian people during the Soviet era. He has been able to express the mystical thoughts of the Armenian poet by effectively using colloded collages. This article deals with the classification of 10 symbols and symbols in the color of pomegranate film.
Tahmineh Bazdar
Abstract
One of the main focal points of the Silk Road as the East-West communication highway is the vast land of China. The Silk Road was not only a way for China to trade with other countries, but more importantly for cultural, interpersonal and social exchanges. The most basic tools for such an exchange are ...
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One of the main focal points of the Silk Road as the East-West communication highway is the vast land of China. The Silk Road was not only a way for China to trade with other countries, but more importantly for cultural, interpersonal and social exchanges. The most basic tools for such an exchange are language and language products. Iran is one of the greatest countries which had been crossed by the major part of the Silk Road; Iran's particular conditions, means being on the major part of the Silk Road and its proximity to China, have led to widespread cultural and linguistic exchanges between these two great civilizations. Researches have illustrated that in addition to Sanskrit, Persian Language has had profound effects on Chinese culture, especially on the ethnic Muslim minority culture of the country, which remains to this day. Therefore, in this study, we attempt to give an overview of the first documents and signs found and remaining of Persian script and language in Chinese language, especially the first stages of teaching Persian language in this land. Persian Loanwords in Chinese language, the first translation school, and the first Persian-Chinese dictionary, “Huihui” are among these documents in China. In this study, we will analyze and examine them.
reza chehrghani
Abstract
Awakening, Enlightenment, and Modernization in Tajikistan Under the influence of the views of Ahmad Makhdum Danesh (1897-1828) and his “Navader alvaghaye began with the education movement and so far, it has gone through various periods and has taken different approaches, such as religious, secular, ...
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Awakening, Enlightenment, and Modernization in Tajikistan Under the influence of the views of Ahmad Makhdum Danesh (1897-1828) and his “Navader alvaghaye began with the education movement and so far, it has gone through various periods and has taken different approaches, such as religious, secular, Marxist, nationalist, and so on. In all of these periods, Persian language and literature has been used as a vehicle or platform for the development of modernism, thinking, and related topics, or as a means of conveying the concepts and ideas of this system. In some historical contexts, the category of Persian / Tajik language, script or literature has itself become an Identity maker element for Tajik intellectuals. Therefore, using a descriptive-analytical method, this study has attempted to analyze the role and influence of Persian language and literature in the formation and continuation of modern thinking and modernization or evolution in Tajikistan. The results of the research show that Persian language and literature has become subjective and sometimes subjective in relation to modern thought and modernity in this country and its historical continuity. The results of the research show that Persian language and literature has been a method and sometimes a goal in relation to modern thought and modernity in this country and its historical continuity. Such that, most of his intellectual works and modernistic ideals were presented in genres and literary formats. In addition, in the later periods, in contrast to the emergence and power of pan-Turkism and the ignorance of the Tajik identity and historical presence in transitions or in the story of the change of Persian line to Russian or Cyrillic, the category of native language and Persian literature and the preservation of Linguistic honors and Literary legacies, as a sacred ideal, have become the main concern of Tajik intellectuals in their social struggle.
Nasim Hasani Darabadi; zolykhah azhdariyan
Abstract
One of the methods for reading the image is the Panofsky method, in which iconography is linked with iconology, and a journey into the depths of Iran's painting art, which is a window to culture, ancient history, myths and beliefs of Iranians, can be traced. In the study of the position of man and objects ...
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One of the methods for reading the image is the Panofsky method, in which iconography is linked with iconology, and a journey into the depths of Iran's painting art, which is a window to culture, ancient history, myths and beliefs of Iranians, can be traced. In the study of the position of man and objects used in the images of the three stories of Zahhak, Rostam, Sohrab and Bijan from Tahmazabi's Shahnameh, mace Gaussar’s is observed and this question arises in the mind why the ghosts in their hands are bulls, and the monographs Safadi has a message in creating it. In this paper, we have tried to find a meaningful and meaningful image and function in the image with a comparative look and using the Panofsky pattern. The information in this article is collected by the library method and its research method is analytical-descriptive. Finally, there are two glances about the Gaussar’s Mace. The first weapon that will help the warrior in the battle and prevent the enemy's infiltration. Second, because Friedman draws it down and orders the blacksmiths, it refers to the bronze age and iron and rich resources in our land. Regarding the atmosphere of the Safavid era, the painter also sees himself in the epic space of the poet, as if the pen was in his hand as a wand, and he drove the balloon to the ground and knocked down the ground to wake the crowd.
ebrahim khodayar
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 ...
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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.
7. .
ahmad rezaee
S.M. Mahdi Saatchi; khosro zafarnavaei
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 ...
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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”.
Reza Ghafouri
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 ...
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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.
seyed ali ghasemzadeh; tajuddin arwinpoor
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 ...
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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.
Hesam Keshavarz; Ali Asghar Fahimifar; HasanAli Pourmand
Abstract
Considering the names of the Oriental hand-wovens, Arabic words were highly used in the Iberian Peninsula (Portugal and Spain). This paper used the historical research method to explore the old Spanish and Portuguese documents and also the quality and state of emergence of Oriental hand-wovens in these ...
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Considering the names of the Oriental hand-wovens, Arabic words were highly used in the Iberian Peninsula (Portugal and Spain). This paper used the historical research method to explore the old Spanish and Portuguese documents and also the quality and state of emergence of Oriental hand-wovens in these lands. In this method, the etymology of those Arabic words was considered too. The results of the paper revealed that in the Iberian Peninsula, at least, from the 14th century, the Oriental carpets were a typical and symbol of furniture which were known as alcatifa, a popular name for them. The word alcatifa must be derived from Qatif port at the coast of the Persian Gulf. Most of these carpets traveled from India to the Iberian Peninsula by trade. The Persian carpets were too expensive, so there are a few signs of them in the Portuguese and Spanish decorations during that time.
behzad vasigh
Abstract
Before the advent of modernism, religions were known as the theoretical sources of gardening. Chinese Gardening is one of the most important legacies in Asian culture and art. It seems that landscape design in China is somewhat influenced by the tendency toward nature in Buddhist, Taoist, and Confucian ...
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Before the advent of modernism, religions were known as the theoretical sources of gardening. Chinese Gardening is one of the most important legacies in Asian culture and art. It seems that landscape design in China is somewhat influenced by the tendency toward nature in Buddhist, Taoist, and Confucian ideas. The research method in this paper is a case study and analytical-descriptive research. Information is gathered through documentary and library studies and the logical deduction of data. The data are measured by a review of Chinese garden plans. Further, by analyzing the elements and generalities of the Chinese garden, it is referred to how the thoughts are influenced by the formation of symbols and the form of the garden. Studies have shown that China's landscape is the concrete embodiment of Taoist, Confucian, and Buddhist thoughts, which have shown itself in the form of elements, orders, relationships, and locations between the components.
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