پژوهش های ایران شناسی
سال:1394 | دوره:5 | شماره:1 |تعداد مقالات:10

There are several studies pertaining to Perisian painting which explain its aesthetics on the basis of mysticism and the notion of imaginal world. This point of view bears some methodological problems. Some of the prominent scholars (Burckhardt, Nasr, Ringgenberg), refering to Ibn Arabi’s mystical notions, have tried to show that the specific aesthetics of Persian painting has been derived from the imaginal world. Our aime here is to show that establishing the aesthetics of Persian painting on the basis of imaginal world’s metaphysics lacking seriously the theoretical and methodological rigour. Firstly, Ibn Arabi and his heirs’ conception of imaginal world was first of all ontological (hierarchy of Being) and epistemological (knowledge of God). Secondly, there are not good proofs which could demonstrate that Persian painters were initiated to this notion. Thirdly, achieving to imaginal world through mystical intuition is conditioned by asceticism and purifying rituals, which are not necessarily familiar to Persian painters almost working in the court of Sultans. We will try to show that considereing these painting in themselves is the genuine way to establish their aesthetics principles.

As one of the most important and primary sources in historicalstudies, “Documents” have key role in reflecting political, social and cultural Life of their own time. Basically, these sources are invaluable for two groups: for ordinary people in terms of informations contained in them, for researchers in their researches. By the formation of human communities, primitive man always has been in search of his identity and trying to differentiate himself from the other. As the time went by and the human communities became more populated, identification became one of the most prominent aspects of the society, and various types of methods were exploited in which issuing identity documents was very decisive. Creating identity, followed by the concept of identity documents, was the production and the result of the second half of the first modern Pahlavi government (1931-1942). Through all kinds of identity documents, marriage contracts have a lot of values from historical and juridical points of view. In the second half of the Reza Shah h’s government, following this project, all the authorities who were in charge of marriage offices were obliged to clarify the husband and wife identity. As a result, the historical process of continuity and evolution in marriage contracts were considered in consolidation of Iranian identity.

The last chapter in the saga of Rustam and his family, the fall of the house of sistanian heroes, and ravage of this territory by Bahman, Son of Isfandiar, is an episode, which relates the mythic and heroic parts of Iranian national saga to its historical part. This article has addressed the issue of origin, date and place of versification of Bahmannameh, one of its variations which is the longest and most extensive one. The internal evidence of this epic poem demonstrates that it belongs to the people of northern Iran, the Deylamis. Moreover, through comparison of poet’s verses about his patron, Mohammad ibn Malekshah, with the history of reign of this king, it concludes that this book has been versified in 495H. in city of Hamedan, where the poet eventually heard or read the mentioned version of the story.