Ismaili and anti-Ismaili sources differ dramatically in how they depict the Ismaili “inviters” (dāʿīs). To Ismaili authors, the inviters were noble, kind, and pious believers who propagated the true message of Islam, while to their detractors the inviters were sinister, unscrupulous villains. However, all agreed on one feature: the inviters generally worked discreetly and anonymously, far from the prying eyes of hostile authorities. Thus, the 11th/17th-century poem of the Ismaili Khālū Maḥmūd ʿAlī, edited and analyzed in this article, is a rarity. The poet enumerates Ismaili notables in locations scattered throughout Khurāsān, Quhistān, Badakhshān, ʿIrāq, Turkistān, and Hindūstān in a period in which we know almost nothing about the Ismailis. The article discusses the existing manuscripts of the poem and its prosody. It continues by providing a critical edition, discusses elements in the poem that reflect the literary genre of “prayers of proximity” (duʿā-yi taqarrub), and analyzes what we can deduce about the poet himself.

The role of mathematics in biological studies is briefly discussed within the time frame of 17th to 21st centuries. The considered time line is partitioned into a number of sections within each a special scheme of two fields interactions is observed. Biological consideration within the serious work of mathematicians and serious consideration of mathematics within the work of biologists are employed to map various interval of interactions. Such interactions were (and yet are) constructive. These lead to the new interdisciplinary field of mathematical biology in 20th century. This paper will draw the picture of future modern biologists. It is claimed in this paper that, very soon, it will be impossible to meet a biologist who is not a sort of mathematician and there will be many mathematicians who works on biology. The relations between biology and mathematics will be similar to the relations between mechanics and mathematics. It is argued that, the time comes for building classical mathematical theories for biological concepts/problems. Some examples are given,specifically, the work of Shahshahani metric is addressed as an example towards such classical theories.

This article is devoted to two theorems on tangent circles, which were discovered by the Iranian geometer Ab Sahl K h (4th century A.H.). The two theorems were inspired by the Book of Lemmas (ma khūdhāt) attributed to Archimedes. Kūhī's original treatise is lost, but the two theorems are found in Nasīr al-Dīn Tūsī's edition of the Lemmas of Archimedes. They then appeared in Latin translations in 1659 in London, and again in 1661 in Florence, and in 1695 in a revised Dutch version in Amsterdam. The present article compares the original Arabic version of Kūhī's theorems (in the presentation of Tūsī ) with the revised Dutch version.

Persian civilization coincided with the formation of the heavenly religions depending on the diversification of the social structure of this country is included in each period. The kind of look and attitude of the central government Safavid art and culture, religions, especially Jews, consideration, review and research. The atmosphere of the city in the 17th century AD in a way that might have been Jewish themes borrowed from literary masterpieces of Muslim Persians and inspired by book layout techniques and traditions prevalent in the Safavid court art workshops or private workshops artists of the era, to produce their own illustrated books. The particular type of culture and art among the Jews formed that is known to Judeo-Persian. Judeo-Persian art from the book layout of this religious minority in Iran. At the same time the presence of the Safavid state in the seventeenth century, a certain type of book layout consists of Hebrew and Judeo-Persian miniature paintings of this period are formed that its special time. This study sought to interpretation, explanation and exploration of the dark activities of Jewish art book to comprehensively analyze their illustations. Also looking root of the image, and finally matching them with samples of his counterpart in the Safavid era and the result, the formation of this particular image according to aesthetic principles of doctrine and especially illustrated books, painting seventeenth century in Isfahan. At the same time formed the roots of the culture of Isfahan in Safavid era can be for Jews in this century origins of the book layout also be evaluated. In this period due to the growing demand nongovernmental paintings such as single portrait for artists can be traced to their roots as well as Judeo-Persian painting. special Jews manuscripts consists of lines of Hebrew and figures are taken from the Painting School in the seventeenth century and the origins of this art is in the sixteenth century. This could be why the Iranian Jews as a great and ancient minority is rooted in the country. Armenian Christians cannot see something special paintings. But there are differences in image quality, most images are revealed to aesthetic issues. This may be due to high cost or high cost of gold is the artist of the century. So that we can say that actually the Safavid workshops did them. But according to image matching with samples available from the School of Isfahan can be traced illustrious artists of the era, illustrated by the Reza Abbasi and most of all his disciples followed. Especially Judeo-Persian book illustration art sought to revive two components identified in the works. One that can create a sense of patriotism and strong similarities in their technical to Isfahan school miniature artists and painters such Moein Mosavir. And revived their religious beliefs Judaism to survive the subject of stories and using instead of Hebrew script Persian expression that is. A special kind of book layout to any form of religious minorities in Iran eleventh century formed the heavily indebted Iranian painting is unique, of course.

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Decrees on the prohibition of wine, drugs and beard shaving are among the most frequent social verdicts of the 11th century AH, which the quality of their execution is also mentioned in the historical sources of this period. Due to the silence of official sources about this case, the community’ s point of view and public opinion about these decrees is ambiguous. The aim of this article is to achieve the important assumption, through thematic analysis of some friendly letters (Akhvaniat) of this era that the obligation of these decrees does not necessarily mean their definitive acceptance by the community and people with different social positions had dealt with these decrees in different manners. For instance, there were some poets and literates who protested and criticized these decrees, while most of the religious scholars and officials supported and agreed with these decrees due to their involvement in the process of issuing them. Although political officials who were eager to maintain their position had been wary and mostly abstained from expressing their point of views, their true orientation is visible in their works and lives. The ordinary people, who did not have a special social position and no opportunity to express their views, have shown their accompaniment or insubordination towards these decrees in their everyday life. Furthermore, the study of the various forms of these reactions shows that, given the opposition of the two main groups of the community, i. e. poets and ordinary people, reactions to the deterrent decrees of this period have appeared more often in opposition and lack of coexistence.

Johann Zechendorff (1580-1662) was the head of the Sevi Kau Latin School, a linguist and a Lutheran Christian. He was one of the pioneers in the field of Arabic and Islamic studies in the territory of the Kingdom of Germany in the Roman Empire. The translation of the Saff and Naba Surahs into Latin, as well as the translation of the commentary of the Qari’, ah and Asr Surahs, are among his printed works, which were printed with wooden letters with difficulty. He made a lot of efforts to prepare the complete printed version of the Quran along with the Latin translation,however, due to unknown reasons, he failed to publish the complete Quran. So far, the activities and works of Johann Zechendorf as the pioneers of Islamic studies have not been considered and analyzed in Persian studies. This research, with a descriptive-library method, reviewed the works and activities of Zechendorff in the field of Arabic education and the translation of the Quran into Latin, and based on the previous research of Asaph Ben-Tov, Roberto Tottoli and Reinhold Glei, he endeavored to determine the position of this German orientalist in the field of Arabic education and outlined Islamic studies. In addition to the brief description and introduction of Zeschendorff’, s works, the results indicate that although he started his translation in the early stages intending to reject it, in the later stages and after getting to know Baydawi’, s exegesis, he changed his approach, which could be the cause of his isolation in the final stages of his life.

In southern India, forming the Deccan Shiite governments (1098-895 AH / 1687-1489 AD), which was simultaneous with the Safavid reign in Iran, resulted in incremental Iranians’ immigration to this region. Among immigrants, Iranian Shiite physicians, due to their high medical knowledge and considerable skill, along with the support of the Shiite rulers, enhanced their status and settled in areas under the control of those governments, contributing to the festive medical production and developments there. The main objective of this research is to investigate the effect of the Iranian Shiite physicians, who migrated to the Deccan region, on the Shiite governments' medical advancements. The research hypothesis is that the Iranian physicians developed medicine by establishing Dar al-Shifa (medical schools and hospitals) and teaching and authoring medical books in Persian. Moreover, upon the invitation and support of the Adil Shahi, Nizam Shahi, and Qutb Shahi Shiite rulers, they were appointed as special physicians in the court, resulting in the flourishing and advancement of medical sciences in those areas. The research employed a descriptive-analytical research method and collected data by library resources.

Titus Burckhardt was a Swiss traditionalist theorist who dedicated his life to studying various cultures and beliefs, including Islam. He explained and interpreted the philosophy of medieval and Eastern symbols based on the Perennial Wisdom. According to Burckhardt, the complete expression of the relationship between art and metaphysics can be found in Plato’s statement: “Beauty is the splendor of truth.” In his view, it is only through symbols connected to nature that one can depict the essence of truth, which is the aim of traditional art. Realistic art cannot achieve this goal, as truth is neither evident nor earthly.Burckhardt divided traditional arts into two categories: one includes arts in Islamic civilization, such as painting and music, which are non-sacred arts, and the other, like mosque architecture and calligraphy in Islam or church architecture in medieval Christianity, as sacred art. Sacred art is a part of traditional art that is directly and intimately connected with religious principles and is related to religious rituals and ceremonies. To distinguish it from traditional art, it is referred to as sacred or holy art. The art of carpet weaving, which is related to this research, is considered a non-sacred traditional art. The hypothesis of this article is that the motifs of carpets featuring plant ornamentation can be interpreted through the lens of ornamentation and color, drawing on Burckhardt’s perspectives.This article posits that the motifs of carpets featuring plant ornamentation can be interpreted through the lens of ornamentation and color. This research aims to analyze the motifs and symbols of the 17th-century Kerman vase carpet, a relic from the late Safavid period, based on the philosophy of traditionalism, particularly Burckhardt’s perspective. This research addresses the following questions: What visual symbols are depicted in the Kerman vase carpet? In the history of motifs, what works do its patterns and colors reflect? And how can the motifs of the carpet, especially the one in question, be analyzed and examined from Burckhardt’s point of view? The research method is descriptive-analytical with a historical approach, and information is gathered through documentary sources and literature. The pinnacle of carpet design and weaving in Iran was achieved under the support of the Safavid dynasty from 907 to 1152 AH (1501-1739 AD). During the Safavid era, the city of Kerman gained real significance thanks to the efforts of Ganj Ali Khan. According to Sir John Chardin, the best and largest carpets that made their way to royal courts were mostly designed and woven by the skilled artists of Kerman. One reason for the fame of the illustrious Kerman carpets is the abundance of patterns and designs and the use of a diverse range of colors that are completely in balance with each other. The vase-design carpet woven in Kerman in the 17th century represents swirling, intertwined plant motifs of arabesque leaves and flowers, predominantly using blue tones on its background. This carpet is identified as having a vase design due to the small vase motifs from which leaves emerge. The vase symbolizes the earth-mother goddess: “A distinction must be made between the mother goddess and the earth-mother goddess. The earth-mother goddess is the source of life and has been instrumental in primordial creation, eternally a source of abundance for all natural phenomena; everything comes from her and returns to her, and the world is her body.” Moreover, plant motifs, especially trees, have held such prominence in all ceramics, textiles, paintings, and even carvings throughout Iranian history that they have been regarded with respect by renowned artists. The cypress trees depicted on the murals of Persepolis are among the oldest works demonstrating the importance and prestige of this creation of the Lord among the artists and kings of the Achaemenid dynasty. Especially regarding the arabesque motifs, there is an older example, although it differs from later arabesques, it is undoubtedly from the early stages of the transformation of simple floral motifs into arabesques. This example is a felt piece discovered along with the findings of the Pazyryk Valley. Regarding the concept of the arabesque motif, Burckhardt writes that it is not merely a substitute for figurative art, which is prohibited in Islam. Even though there are different artistic interpretations of this law, the arabesque, with its rhythmic repetition, serves a very different artistic purpose than figurative art and stands in direct opposition to it. The arabesque does not captivate the eye to draw it into an imaginary world, but on the contrary, it liberates the eye from all mental distractions. The arabesque conveys no particular thought and more accurately represents a state of being that is simultaneously calm and rhythmic. The arabesque is an abstract art form, composed according to conscious rules, devoid of any subjective, semi-conscious, or hesitant elements. The arabesque, with its vines of pure rhythm, exhibits an unbroken flow, opposing stages, and a balance of solid and empty shapes. At times, this art has been deemed “lacking human qualities” due to its abstract and formalistic nature. It speaks of the centrality of the human spirit and soul among purely plant-based decorations, devoid of any non-plant-based decorations. Burckhardt states that from the perspective of a Muslim artist or craftsman in the Islamic world, the geometric intertwining pattern was undoubtedly the most rational approach to ornamenting a surface, as this motif points to the idea that divine unity or the oneness of divinity is the foundation of the endless variety of the world. Indeed, the unity of divinity lies beyond all manifestations because its essence, which is total and whole, leaves nothing outside of itself and encompasses everything. Nevertheless, it is through the harmony cast over the world that divine unity becomes apparent, and harmony is nothing but “unity in diversity,” just as “diversity in unity” exists. In addition to the arabesque motifs, the Shah Abbasi flower (lotus) also appears in the vase carpet motifs. According to Burckhardt’s writings, in Indian culture, Agni is the spiritual seed or gemma from which the totality of human nature grows; therefore, Agni is hidden in the sacrificial altar, just as it is concealed in the human heart. It is born from the primordial waters, which are the sum of all potentialities, whether spiritual or cosmic and for this reason, the lotus flower serves as its vehicle. Burckhardt asserts that the art of carpet weaving, a distinguished hallmark of the Islamic world, has not been hindered by the exclusive use of geometric forms following artistic compositions on a flat surface and the absence of images in the literal sense. Although the arabesque functions like rhythm and meter, it maintains its primary connection with plants. Its plant-like virtues manifest on suitable occasions, and its stylized framework, along with the unique genius of the artist or ethnic group, reconciles the artwork with nature. Despite distancing itself from realism, it remains connected to abundance and fertility, as in a dry, barren land, decorative motifs must present an image of wealth and the abundance of greenery before the eyes. The sublime theme of the urban carpet is the garden, which is naturally a depiction of the Quranic paradise, described as “gardens beneath which rivers flow.” It is woven with representations of the heavenly nature that also cover the earth, framed by a border resembling a river, which is filled with floral ornaments of Shah Abbasi flowers or lotuses and leaves placed upon Khatai motifs. This is based on the idea that in the Quran, “al-Jannah” (paradise) has two meanings: “garden” and “concealment.” Regarding the color of the carpet, the Kerman vase carpet is primarily blue with crimson-red borders. Blue is a soothing and powerful color that conveys serenity, loyalty, and faith. According to Burckhardt, blue is a color that has been extensively used in sacred places, such as the glazed tiles of mosques and the Qur’anic inscription tiles across different Islamic periods and countries, as well as in the stained-glass windows of medieval churches. This aims to instill a sense of freshness and coolness in the space., much like the shade of an oasis in the desert. In summary, the analysis of the Kerman vase carpet reveals that the plant motifs of the carpet and the symbol of the tree date back to ancient times, such as the Achaemenid period. Over time, the circular motifs evolved into spirals and then into lines adorned with flowers and leaves, known as Khatai, and ultimately became arabesque motifs. The blue color of the carpet, in all traditional Iranian and European arts, speaks of nature and the sky and symbolizes heartfelt faith and divinity. The abundance of plant ornamentation in the carpet reflects the idea that the world is based on harmony; despite the diversity of phenomena, they all ultimately return to the absolute, unified essence of God. The Shah Abbasi flowers or lotuses, in Indian belief, serve as the vessel for primordial creation. According to Burckhardt, only someone with inner illumination can read nature and ultimately understand the symbols. He believes traditional art aims to depict the essence of truth solely through symbols linked to nature. Achieving this goal is not possible through realistic art, as truth is not manifest and earthly.

Many theories have so far explored the evolution of economic thought. In this paper, by reviewing these theories critically, we show that in general any of the theoretical explanations has some weaknesses and Humanities, especially economics, has major differences with empirical sciences. Therefore, in its explanations, attention must be paid to the causes of the theoretical evolution of Humanities. Then, for the first time in the existing economic studies about the evolution of economic thought we show (by relying on Foucault's knowledge-power theory) that there has been a relation between the evolution of economic thought and the evolution of power structure between 17th and 19th century. We conclude that the evolution of economic theory is related to social changes, specially the structure of power. The classical theories can also be assessed from the viewpoint of Foucault knowledge-power theory.