Philosophers have named human Microcosm (because of his special comprehensiveness) and the world Macrocosm (because of its connection- making between beings and its determined order and rule). They believe everything in the world is similar to everything in human. The origin of the theory of Macrocosm and Microcosm and the theory of organic society can be traced back to Plato; however, these origins could be traced back and detected in the attitudes of other philosophers and nations before Plato. Having specifically clear-cut views in theological issues, Abu Moin Nasser Ibn Ghobadiyani –the theosophist, the poet and the writer of the 5th century A.H. (After Hejra or departure of prophet Muhammad from Mecca)- has expressed and proved his own views utilizing terms such as Macrocosm or Jahane Mahin, Microcosm or Jahane Kehin, Macropeople and Micropeople, and in his prose works such as Jame-ul-Hekmateyn, Zad-ul-Mosaferin, Khan-ul-Ikhwan, Vajhe Din, Goshayesh va Rahayesh, he has used these terms in order to teach and disseminate his religious faith. Finally, he has considered the Microcosm as the ultimate goal of creation.

The transcendental and unique status of Man in the pyramid of existence and his indisputable supremacy over the whole body of creation have always been the focal point of consideration of divine schools and thinkers of different societies. Hence, in spite of man's small body, respecting to its merits and potentialities, his being has been corresponded with Cosmos and even considered as the soul of it.The background of systematic explanation of this idea goes back to the philosophers of ancient Greece and, in the Islamic world, to Ikhwan-al-Safa. Hakim Afzaloddin -i- Kashani has also discussed the theory but from a different and distinguished perspective.Correspondence of Man and Universe, in the eyes of kashani, is not separate from their perfection. The perfection of the universe is to be conceived by the rational soul and the perfection of rational soul is nothing but knowing the intellectual forms and the fruit of knowing is Union with God. If the perfect nature of man enhances his unique faculty i.e. intellect, through perceiving the universal and intellectual concepts of creatures, he can comprise their truths completely, and then by ascending towards the Ultimate Reality of universe, he returns the chain of existence to Him. Such a comprehensive and potent function is not acceptable and conceivable unless we believe in the correspondence of Man and Universe.Correspondence of Microcosm and Macrocosm, in Afzaloddin, s view, has been dealt with two different planes: General correspondence and particular correspondence. On the first plane, Man and Universe have the whole levels of existence. These levels originate from God and ultimately refer to Him. On the second plane, the universe is likened to an organism. Here Man and Universe, in terms of form, nature and function, are in perfect harmony, materially and spiritually.In this paper, an attempt has been made first to present a brief background of the theme, then to examine it in the philosophical system of Afzaloddin kashani based on his excellent view on the firm relation of self- knowledge and God- knowledge.

The thought of Microcosm and Macrocosm in the Muslim world has mostly been brought up among philosophers and mystics such as Ikhvan-Al-Safa, Ismaeiliyeh, Ghazzali, Sheykh-e-Ishragh, Attar and Rumi. In Ibn AL’ Arabi’ s school, the theory is considered as a fundamental one which has a deep link with cosmology and humanology of his mystical system. The correspondence of Man and Univers in Ibn AL’ Arabi’ s school can be examined from two approaches: General correspondence and Particular. correspondence The Particular correspondence in which every member of human body is conformed to a special part of the univers, mostly has an allegorical and artistic side and lead us to more significant aims. The General correspondence in which the generic Man is considered has a strong relation to the principal doctrine of Ibn AL’ Arabi’ s school i. e. Wahdat-e-Wujud – Unity of Existence. On this basis, Man and Univers have been created according to the Image of God and therefore both of them are corresponding. to each other

This paper aims at examining Sanaie’s ideas about the micro and macrocosms.Whatever exists I the divine realm and the cosmos, Sanaie suggests, is manifested in man. Hence, man can be considered as the microcosm, i.e., the miniature world, and the remainder as the macrocosm. God created the world, and all the creatures that belong to it and man is deemed to be the epitome of this creation. In brief, man is the root cause of creation and is destined to represent God in this world: “the wise man is God’s successor in the macrocosm, and wisdom is to rule in the microcosm.” Sanaie, like many other mystics, believes that man is a unique creature whose glory is beyond all earthly things. In fact, man’s glory is so great that it cannot be matched by the universe in its entirety. Despite its given name, man is by no means a microcosm; he is actually a supreme world in itself.Sanaie considers man as a supreme being for the unique attributes that he possesses, compared to other creatures, and argues that this supremacy is definitive; therefore, it is not to be challenged by any of the archangels.This glory, in glory, in Sanaie’s opinion, comes from the wholly spirit that God has bestowed upon man.

In traditional perspectives derived from divine revelations and teachings, the belief was that both the world and humanity represent facets of truth, with the world being as the macrocosm and humanity as the microcosm. This perspective leads to another principle, which is the harmony between the macrocosm and microcosm. According to mystical teachings and religious interpretations, the world consists of hierarchical levels, and each level, as a symbol of a higher rank, corresponds both partially and entirely to another level. The research question is how Iranian and Islamic paintings, when viewed through a perspective that emphasizes the correspondence between the microcosm and macrocosm, are perceived and interpreted. Every aspect of an artist's imagination, whether rational or imaginary, and sensory perceptions, all represent facets of truth. The mystic artist, consciously or unconsciously influenced by this spirit of the traditional world, engages in creation, and their artwork in a way alludes to truth. This study aspires to analyze three works from the Tabriz II School of painting germane to the story of Layla and Majnun. The main thrust of the study is to comprehend and present the visual components in the correspondence between macrocosm and microcosm as taught in the Islamic mysticism school for analyzing Iranian painting and deriving novel insights from it. The research is both descriptive and qualitative, using analytical and interpretive methods based upon Ibn Arabi's teachings. Data collection involves observation and study of printed and electronic sources. The results indicate that most paintings are not solely reflections of the external world or narratives but rather refer to the relationship between "humanity-nature-world" and the flow of love in the elements of existence; it is as if the artist portrays the reflection of these two worlds and the flow of love within the pillars of existence.

Introduction Traditional Iranian miniature painting, as a prominent manifestation of Islamic art, has always sought to convey profound meanings and philosophical concepts. This art form, which emerged to express mystical ideas and religious worldviews, employs a unique visual language and traditional principles that require precise understanding. The miniature “Majnun Among the Beasts” is a striking example from the Safavid period, heavily influenced by the mystical teachings of ibn Arabi. Through the principle of correspondence between the macrocosm and microcosm, this painting depicts the experience of divine love and the unity of man with the source of existence. This article aims to analyze the inner meaning and philosophical structure of this artwork, demonstrating how Iranian miniature art conveys deep mystical concepts through composition and symbolism. Research Method This research adopts a descriptive-analytical approach to examine the miniature “Majnun Among the Beasts. ” Initially, historical and theoretical sources related to Iranian miniature art and Islamic mysticism were reviewed to establish a theoretical framework for analyzing the artwork’s semantic and visual aspects. Primary sources included mystical texts, classical Persian literature, and prior studies on Islamic art philosophy and miniature symbolism. The painting’s composition, forms, colors, and visual symbols were carefully examined to reveal the relationships between the images’ elements and mystical concepts. The analysis focused particularly on the principle of correspondence between the macrocosm (al-‘alam al-kabir) and microcosm (al-‘alam al-saghir), meaning that each component of the painting was considered a manifestation of a spiritual dimension. Special attention was given to the interaction between the human figure (Majnun) and nature (animals, plants, desert), illustrating the ontological unity between the physical and spiritual worlds. In addition to visual analysis, the historical and cultural context of the artwork—especially the influence of ibn Arabi’s mysticism and Sufi traditions during the Safavid era—was investigated. Data were qualitatively analyzed, with an emphasis on decoding the inner meaning of the painting through the allegorical and symbolic language characteristic of Iranian miniature art. Research Findings The analysis of the miniature “Majnun Among the Beasts” reveals that its composition is shaped by traditional principles and mystical beliefs. The desert setting symbolizes the path of spiritual asceticism and divine love, where Majnun, representing the microcosm, endures solitude and the madness of love. Various animals coexist harmoniously within the scene, symbolizing the unity and coherence of existence, in which divine love transcends conflicts and enmity. Majnun’s gentle gaze toward the gazelle, a symbol of beauty and the beloved, manifests the relationship between the physical and metaphysical realms. The artist’s use of blue in Majnun’s garment evokes the Sufi cloak, indicating the seeker’s spiritual journey and status. Curved lines and the arrangement of animals guide the viewer’s attention toward Majnun and the gazelle, exemplifying the correspondence between different levels of existence. The soft textures and gentle colors of the hills and plants reflect Majnun’s inner feelings, merging symbolic expressions of love, beauty, and sorrow with nature. The combination of spring and autumn elements in a single frame symbolizes the cycle of life, death, and renewal--a process deeply connected to the spiritual journey toward unity with existence. Ibn Arabi’s mystical philosophy profoundly influences the artwork,the principle of correspondence between macrocosm and microcosm is clearly depicted here. Majnun not only symbolizes a loving human and spiritual seeker but also possesses a transcendent power that harmonizes with nature. This portrayal presents madness as a sacred force linked to the divine. Ultimately, the miniature serves as a medium for expressing the seeker’s mystical experience and conveying philosophical concepts. It invites the audience to contemplate the nature of love, existential unity, and the human relationship with the cosmos. This work exemplifies art that goes beyond aesthetic beauty to explore profound inner meanings and existential mysteries.   Conclusion The miniature “Majnun Among the Beasts” stands as a prominent example of the fusion of Iranian miniature art with Islamic philosophy and mysticism. Through allegorical language and skillful composition, it vividly depicts the profound concepts of divine love and existential unity. This study demonstrated how the artist, by applying the principle of correspondence between the macrocosm and microcosm, conveyed the spiritual experience of the seeker in a symbolic and innovative manner. The artwork not only reflects the cultural and artistic traditions of the Safavid era but also opens a window to a deeper understanding of spirituality in Islamic art. Alongside its historical and aesthetic values, recognizing the philosophical and inner dimensions of Iranian miniature art is essential for transmitting lofty mystical and cultural messages. Future interdisciplinary research can further illuminate the role of this art in shaping Islamic culture and spirituality.

One of the most important issues in the field of Islamic mysticism and Sufism is Microcosm and the Macrocosm. It is discussed in Ibn Arabi's mysticism and plays a vital role in his mysticism and his followers. Since his writings are based on a special type of linguistics that may not have been used in the expression of any of the mystics, the description and explanation of the researcher of his mysticism should also consider the issues related to language and its belongings as a prior assumption. Examining Ibn-Arabi's Al-Tadbirat Elahiya shows that he uses metaphor to explain how the Macrocosm and Microcosm are matched. At the beginning of the book, Ibn Arabi presented a definition of metaphor that is exactly in accordance with the definition in the Islamic rhetoric, that is, in Sheikh Abdul Qahir Jarjani’s. The vital element in this similar definition of metaphor should be sought in "point of resemblance" which implies the formation and permanence of metaphor. After comparing Ibn Arabi's and Jurjani's definitions of metaphor and examining some examples of metaphors from the Microcosm and the Macrocosm, the conclusion was reached that two authors agreed both on presenting the definition of metaphor, and on the most important characteristic in the vehicle in the formation of the metaphor. Furthermore, Ibn Arabi applied this theory practically andontologicalyl, and obtained favorable results from it.

William Chittick, currently Professor of Religious Studies at the State University of New York (Stony Brook), is an internationally renowned expert on Islamic thought. His contributions to the fields of Sufism and Islamic philosophy have helped paint a clearer picture of the intellectual and spiritual landscape of Islamic civilization from the 7th/13th century onwards. Yet Chittick is not simply concerned with discussions in Islamic thought as artifacts of premodern intellectual history. His vast knowledge of the Islamic intellectual tradition serves as the platform from which he seeks to address a broad range of contemporary issues. In this short essay, I will outline Chittick’s writings on the self within the context of his treatment of cosmology. Rather than being outdated ways of looking at the universe and our relationship to it, Chittick argues that traditional Islamic cosmological teachings are just as pertinent to the question of the self today as they were yesterday.

Ibn Arabi and Mollasadra assume the spirit of human being to be the manifestation of God because the human spirit reflects the nature and characteristics and behaviors of the Almighty. They believe that the existence of human being overlaps the whole universe. Therefore, they match the microcosm of human being with the macrocosm of God so much that they sometimes take the world of human being as macrocosm and the universe as the microcosm. The extraordinary action of human spirit is their significant belief upon which they have discussed galore and by the use of such a reality they have been able to make their comments and explanations of miraculous objects.

Desacralizing of knowledge in the modern world and overcoming Cartesian dualism, and as a result, the alienation of man with the cosmos, led to the separation of man from the world. Despite its new name, anthropocosmic vision has a long history in religions and has attracted the attention of thinkers in various fields, including Religious Studies, in recent decades. With the harmony and correspondence between man and the world, or in other words, microcosm and macrocosm as its implications, this essentially mystical vision illuminates many doctrines of religions based on the unity of self-knowledge, cosmology, and theology. This paper, first of all, deals with the anthropocosmic vision, its definition and description, and then with its history expressed in various religious traditions, and then examines it as an approach in academic studies of religion. Achieving to a kind of ontological epistemology can be of its outcomes. Also, one can understand the conformity of the ritualistic order with the cosmic order in the religions.