Mytho-Mystic Literature
Year:2011 | Volume:7 | Issue:22|Papers Count:9

For understanding Iranian painting in the Middle Ages, we need to know about two Islamic mystic and philosophical terms: beauty and glory. Indeed, a Muslim painter, like a Muslim philosopher and mystic, believes that all creatures are manifestations of glory and beauty of God. So, he even paints the evil beautifully.In Rashida Shahnameh (created in Isfahan, 17th Century, Repository: Tehran: Golestan Palace), we can see this aspect. The anonymous muslim painter has painted not only the good beings (lovers and beloveds, heroes and etc.) but also the evil beings (Satan, monsters, demons, dragons, etc.) in beautiful appearance.The present article, by studying the paintings of Rashida Shahnameh, tries to show the aesthetic aspects of them with respect to the concepts of beauty and glory.

After the Imposed War, a movement in poetry was formed by some Iranian poets. Reviving the memories of the war and narrating the values which had been forgotten after the war, grief arising from attaining martyrdom by fellow warriors, and yearning for martyrdom are major characteristics of these poems.The author of the present article calls this style "mystic nostalgia", and studies a sample of this style, Lagoons and Waters, a masnavi, composed by S. Hasan Hoseini.

Fertility is a subject that has not been noticed in the myth of Siyavash. But we can trace it in Ferdowsi’s epic, Shahnameh. In fact, Siyavash is the god of vegetation and fertility who has transformed into a prince.The present article tries to show the similarities among Siyavash and Osiris (Egyptian god of the Afterlife, the Underworld and the Dead), and Attis, (Phrygian vegetation god) by comparing them. They have a direct relationship with the nature. Each one of them has a goddess whose function is to prepare the grounds for death and resurrection (spring and winter). There is also a special rite in each of them.

The present article is an analysis of a sonnet (ghazal) composed by Hafez-e Shirazi (1325.26–1389.90), Persian poet and Sufi. The sonnet is as follows: “Thanks be to God that the doors of the wine-tavern open, is, in such a way that, my face of supplication upon its door is …The mystery that to the people I uttered not, and shall not utter: To the Friend, I shall utter; for confidant of the mystery He is … O people of the assembly (Murshids) ! The consuming of the heart of poor Hafez, Ask ye the candle that, in burning and melting is.” (Translation by Henry Wilberforce Clarke 1840-1905).The poet speaks about the creation of the world in eternity and believes that man is a manifestation of the Divine.

The separation of science and spirituality has estranged man from the intuitional and mystic view to the world, and it has led to much spiritual damage, including hopelessness, meaninglessness, anxiety, alienation, and egocentrism.This article tries to show that man can overcome these misfortunes by relying on Islamic mysticism and especially on the thoughts of Shahab al- Din Suhrawardi (1155-1191), philosopher, Sufi and founder of the Illuminationist philosophy.

There are similarities between two religious ceremonies, Yazshan, in Iran, and Yajna in India. Yazshan and Yajna have common etymological roots, and despite the differences, there are similarities in holding the ceremonies.Based on these similarities and with respect to their differences, the present article tries to show their common Indo-Iranian root.

In Armenian mythology, Aramazd, the father of all gods and goddesses and the creator of heaven and earth, has formed a "triad" with Anahit, the goddess of fertility and healing, wisdom and water, and Vahagn, the god of thunder and lightning.The present article, by comparing these gods with ancient Iranian gods, Ahura Mazda, Mehr and Anahita, tries to show the influence of Iranian mythology on Armenian mythology.