The encyclopedia of Qadar Khan, is a Persian to Persian lexicon written by Ashraf ibn Sharaf al-Mozakkar al-Faruqi in 807 AH. Since there is a considerable number of verses attributed to Rudaki in this lexicon, as well as some of his own verses, which has directly influenced the published Divans of Rudaki in Iran and Tajikistan, it is necessary to review and criticize the only existing manuscript of it in terms of the overall quality of the work and the registered verses of it. With this in mind, the authors have extracted each of the evidences in this lexicon, then addressed the shortcomings and deficiencies found in the registration of the verses and finally studied the attribution of the verses to Rudaki. The findings of this study can be attributed to many cases of misrepresentation, erroneous registrations, false attributions, and manipulation of registered verses. Despite these shortcomings, we have used the present work contrary to the opinion of editors of Rudaki's Divan, including Braginsky, Mirzayev, Nafisi, etc. who have used it as a first-rate resource in the recovery of Rudaki poems, which is a source of poor quality and second-rate to correct Rudaki poems.

This article deals with a theological treatise that has been wrongly ascribed to the Imā mī scholar al-Sharī f al-Murtaḍ ā (d. 4361044/). The treatise discusses the question of human agency in relation to divine decree and determining, arguing for positions that, to a large extent, resemble Murtaḍ ā ’ s known views. Nevertheless, the treatise also betrays features incompatible with Murtaḍ ā ’ s theology as a whole, in addition to stylistic and bibliographical questions that make a good case against the work’ s authenticity. This wrong ascription, however, has not been noted despite the repeated editions of the text in the Islamic world. As such, it misrepresented many of Murtaḍ ā ’ s views, sometimes undermining the main pillars of his theological system. The author of the treatise establishes his ethical concepts on the basis of scriptural dictates before proceeding to rational arguments, relies on non-multi-attested reports, defers to the authority of the Prophet’ s companions and culls God’ s names and attributes from the word of revelation. While going against Murtaḍ ā ’ s positions, these views – put together– are considerably closer to non-Imā mī doctrines, and could have easily been the work of a Muʿ tazilī author.

Introduction: The subject of " Qaza and Qadar" (Predestination) is one of the most challenging theological topics that is sporadically reflected in all periods of Persian poetry. But in the Safavid period, this theological issue became the center of several diversified stories (poems) creation In a way that from the beginning of Safavid to Qajar, a stream of Composing Qaza and Qadar" (Predestination) was formed in Persian poetry. Most of these Masnavi are scattered in the form of manuscripts in between the corpus and manuscripts. According to a research project, about 45 cases of Masnavi Qaza and Qadr have been identified so far, of which only 4 have been published. One of these poems is "The Poem of Qada and Qadr or Atash khane e ghayb" by Mirza Ahmad Sand, which has been mistakenly recorded in the manuscript lists as "Bukharai Sarhandi". In this research, it will be proved that this poem originally belongs to Mirza Ahmad Sind, one of the talented poets of the twelfth century. Then this poet and his poem will be introduced. literature review, objectives and Research Method: Zolfaghari (1374) in an article, has introduced and studied the Masnavi "Chah Vesal Lily and Majnoon" by Mirza Ahmad Sand. Also, he has collected 5 cases of Masnavi of this poet and has published them along with an Introduction: about the poet and specifically his "Masnavi Chah Vesal "in a book entitled Chah Vesal (1375). Apart from these two works, no book or article has been published about this poet. Ahmad Sand is one of the beaux esprits but lesser-known poets of the Safavid period, who is also composed Qada and Qadr poem and his Masnavi of Qada and Qadr, entitled " Atash khane e ghayb ", is one of the different Masnavi in this field, in terms of intellectual content, narration and rhetorical aspects. On the other hand, in the list of manuscripts, Masnavi Qaza and Qadr have been mistakenly attributed to "Ahmad Bukharai Sarhandi". Therefore, the purpose of this research is: revival and Introduction: of one of the manuscripts of the Safavid period which is placed in the general form of Qada and Qadar poems; Content analysis of the work, Introduction: of Ahmad Sind, the lesser known poet of this poem. This research is a fundamental research that has been done by library method. Discussion: One of the diversified stories (poems) whose poet's name is incorrectly registered in the lists of manuscripts is the poem " Atash khane e ghayb " which is in the list of Dena and Fankha called "Ahmad Bukharai Sarhandi". There are two copies of this poem, one of which is kept in the center of the Islamic Encyclopedia (No. 3/519, 13th century) and the other in the Center of "Ehyay e Torac e Eslami" (No. 1287/7, 14th century). According to this research, the attribution of this work to Ahmad Bukharai Sarhandi is rejected. Some of the reasons for this claim are: Like other Masnavi of Ahmad Sind, the poet's pseudonym-Sind-is mentioned in the last verse of Masnavi. All the Ahmad Sind' Masnavi have a title, on the other hand, among the Masnavis of Qada and Qadr, only this Masnavi has name: " Atash khane e ghayb ". This is the only poem that has been written based on a moral principle (chastity and purity in love) among Masnavis of Qadha and Qadr, and this is the Ahmad Sind' style in all his poems. Numerous inscriptions about "Ahmad Bukharaee Sarhandi" of the Safavid era were carefully examined and his biography was not found in any of them. The Masnavi: " Atash khane e ghayb " (version of ehyay e torac) consisting of 460 verses, has been composed in the bahre hazaj. This poem is the story of a pious young man who is subjected to the test of God, and the reward of his greatness is answering his' prayers (halal wealth and a beautiful girl) in this difficult test. The main theme of this Masnavi is based on the principle “ The heart wish must be forgotten, Because in the end it's good” This diversified storie (poem) is generally similar to other poems of Qada and Qadar in terms of form and observing some characteristics. But it also has many differences with other poems of ‘ Qada and Qadar’ , For example, one of the main elements of rhetoric in the poems of Qada and Qadr is simile, but in this text the frequency of simile is low. The defining rhetorical elements in this text are expansion, irony and contradiction. Expansion is based on the battle between the two forces of soul and intellect. From the view of narration, this Masnavi has a different plot from other poems of Qada and Qadr, and its characterization is much more complex than other Masnavi in this field. The main theme of poems of Qada and Qadr (the dominance of destiny over tact) is not repeated in this text; The main theme of this text is the victory of purity and wisdom over impurity and carnal desires, while, it shows the audience the victory of human will and tact. poems of Qada and Qadr are generally event-oriented and Generally, the Qada and Qadr, s poems are event-oriented and have a improbable and tragic ending, but the verisimilitude of this text has no general weakness and the end of the story is not surprising and improbable. Conclusion: One of the Masnavi of Qada and Qadr of the Safavid period is the Masnavi " Atash khane e ghayb " by Mirza Ahmad Sind, which is Unintentionally registered in the lists of manuscripts as Bukharai Sarhandi. In this research, the attribution of this Masnavi to Bukharai Sarhandi is rejected. Mirza Ahmad Sind is one of the unknown poets from Kashan in the twelfth century. Among the biographies of the Safavid era, only Nasrabadi's and sobh e Golshan's biography contain brief information about this poet. Based on this research, 9 Masnavi were identified from him: Chah Vesal, Negarestan Chin, Nakhl Sib (or Nakhl and Sib), Pand Darvish be Majnoon, govahi e do kabk, " Atash khane e ghayb " (Qada and Qadr), mokafat nameh e sind, An anecdote in satire and a work entitled "Ode of Sayyid Muhammad Sind alias Kashani" which is in fact in the form of Masnavi and belongs to Ahmad Sind but is recorded in the name of Mohammad Sind based on the scribes’ mistake. This poet has also tested his poetic talent in composing the poem of Qada and Qadr and has created a different work in this field. His Masnavi is one of the poems of Qadha and Qadr in terms of observing some formal and linguistic features, but it is different from other Qadha and Qadr in terms of intellectual content, narration and rhetorical aspects.

Although the challenging topic of predestination (qaż ā va qadar) has always been discussed in Persian literature, some poets in the Safavid era paid a particular attention to the topic, composing eponymous masnavis, and this trend continued until Qajar. Most of these poems are manuscripts. The present study introduces a number of predestination poem and their poets and from the point of view of analyzing the aspects of fiction, these poems are criticized. The results of this study Indicates that the Predestination poems (qaż ā va qadar), despite minor differences, have common features that provide the structural unity of these works in terms of story processing. Common narrative components of these texts are: simplicity of language, the existence of a dominant pattern in the plots well as in characterization and the repetition of stereotyped, conventional, and static characters; being based all poems on a key and important theme; Create Heterogeneous and accidentally Events and Weakness of verisimilitude; Unexpected ending and the tragic end and The dominance of incidentalization over characterization. According to this research, these poems may be introduced as a new type of literature. The result of this study can clarify part of the evolution of Persian literature and of the knowledge of literary trends.

The present research uses a descriptive-analytical method to explain Rumi's view on determinism, free will and the positions of agreement and disagreement without preference over each other which leads to a coherent study in accordance with our religious principles between mysticism and verses. The belief in "fate and predestination" stems from the belief in the principle of general causality in the world. According to this belief, in the universe, every phenomenon has a cause and a measure, and nothing comes into being without a cause and without a definite measure. The purpose of this research is to study predestiation (Qadha and Qadar) in verses and hadiths from Rumi's point of view. In Rumi's Masnavi, the relationship between reason and fate is emphasized in a beautiful and appropriate way. Rumi, like his predecessors, does not have a single and tangible idea of reason, fate, and value, so in his famous work, Masnavi Manavi, he explains this issue.

The Razavi School of Art stands as an authentic and distinct current within the vast panorama of Islamic art. It represents a confluence of profound faith, deep spiritual knowledge, and artistic creativity that has blossomed and evolved within the sacred precinct of the Holy Shrine of Imam Reza (PBUH) in Mashhad, Iran. This school is not merely a collection of disparate artworks; rather, it constitutes a coherent intellectual and aesthetic system rooted in monotheistic doctrines and the teachings of the Ahl al-Bayt, particularly the conduct and sayings of the eighth Imam of Shia Muslims. The Imam’s noble hadith regarding “Qadar” (Divine Measure, Order, Proportion, and Destiny), where it is defined as “geometry and the setting of limits,” can be considered a foundational theoretical pillar of this school. This is because it emphasizes order, proportion, and harmony as manifestations of Divine wisdom in creation and, consequently, in art. The Razavi School of Art endeavors to embody the sacred truth and pure Razavi spirituality through form, structure, color, light, and symbolism, such that the artwork itself acts as a gateway to the realm of meaning, guiding the beholder towards contemplation and inner intuition.Despite the immense artistic and spiritual value of the Razavi School of Art, there has been a notable absence of a cohesive theoretical framework for its comprehensive analysis. Previous studies in Islamic art generally addressed its various aspects, and while attempts have been made to elucidate its theoretical foundations, a specific framework for the Razavi School, particularly in light of Imam Reza’s (PBUH) concept of “Qadar,” remained a critical necessity. This research directly addresses this gap by proposing an innovative and comprehensive analytical model.The primary necessity for this research stems from the need to move beyond mere descriptive or historical accounts of Razavi art and provide a robust theoretical framework for its interpretation. This study aims to answer two fundamental questions: Firstly, what criteria define artworks belonging to the Razavi School of Art?  Secondly, how can artworks of this school be read and analyzed using the theory of Qadar?  The main objective is to articulate and explain the “Seven Stages of the Manifestation of Qadar” theory, which offers a comprehensive and practical approach to understand the aesthetic and spiritual foundations of Razavi art. This framework can serve as a valuable tool for future research in Islamic and religious art, and provide guidance for contemporary artists seeking inspiration from Razavi teachings.This qualitative study is based on the “theory development” approach and the “systematic theory abstraction development” model. This structured model is for expanding conceptual frameworks in qualitative research, which leads to the construction or development of theory through the back-and-forth between theoretical concepts and empirical data. The research employs analytical-interpretive methods:Conceptual Thematic Analysis: This method was used to extract key concepts of Qadar theory and its religious, mystical, and aesthetic foundations. The Sources analyzed included the works of Dr. Hassan Bolkhari (especially Qadar: The Theory of Art and Beauty in Islamic Civilization), religious texts (the Holy Quran and Hadiths, including Imam Reza’s (PBUH) hadith on geometry), and Islamic mystical and philosophical texts (such as the works of Suhrawardi and Ibn Arabi). The process involved open conceptual coding, thematic categorization, and conceptual mapping to form the initial conceptual structure. MAXQDA software and manual analytical tables were used for coding and mapping.Artistic Discourse Analysis: This method was applied to interpret specific examples of Razavi art and architecture as multi-layered cultural texts. This analysis facilitated the application of the theoretical framework to empirical instances.The development of the “Seven Stages of the Manifestation of Qadar” framework commenced with the extraction of foundational concepts from theoretical and religious texts. Concepts like “Tajalli” (manifestation), rooted in Quranic verses and mystical interpretations, served as theoretical bases. Subsequently, using deductive-inductive reasoning, abstract concepts were linked with empirical observations. This process of moving from general principles (e.g., Qadar as cosmic order) to specific artistic features (e.g., architectural balance) and vice-versa, led to the structuring of the seven levels. These levels represent successive stages of the manifestation of Divine Qadar in art: Light as the Source of Qadar, Geometry as the Language of Qadar, Motifs and Symbols as Bearers of Qadar, Moderation as the Principle of Qadar, Ornamentation as the Manifestation of Qadar, Spiritual Space as the Environment of Qadar, and the Identity of Razavi Art as the Outcome of these Manifestations.For a preliminary evaluation of the framework’s functionality, a case study approach with purposive sampling was employed. Two prominent examples from the Holy Shrine’s architecture—the Goharshad Mosque and the Golden Iwan of the Atiq Courtyard—were analyzed in detail. These analyses served as a pilot testing of the framework, aiming to elucidate and clarify the theoretical levels within a real-world artistic context, rather than for definitive validation. To enhance the internal validity of the research, strategies such as data triangulation, negative case analysis, and peer review by independent experts were utilized.The core finding of this research is the introduction and elucidation of the “Seven Stages of the Manifestation of Qadar.” This theory provides a structured and systematic framework for reading, analyzing, and interpreting artworks of the Razavi School, moving from the tangible and sensory aspects to the deeper semantic and spiritual layers. Each level focuses on a specific aspect of the artwork and the manifestation of sacred truth within it:Level One: Geometric and Structural Reading: Examines the underlying geometric composition, symmetry, and proportional systems, viewing them as a manifestation of Divine Qadar and cosmic order.Level Two: Reading of Visual Components: Focuses on sensory elements like color, light, texture, and motifs, analyzing their role in creating aesthetic beauty and conveying meaning in harmony with Divine order.Level Three: Symbolic and Codified Reading: Deciphers the symbolic language, iconography, and hidden meanings within the artwork, linking them to their source in Divine.Level Four: Spiritual-Thematic Reading: Explores the overt spiritual and doctrinal messages embedded in the artwork, connecting them to Islamic and Razavi teachings and the purposeful order of creation.Level Five: Pilgrimage-Centered Reading: Considers the phenomenological and spiritual experience of the pilgrim or viewer, analyzing how the artwork evokes emotions and spiritual states during ziyarah (pilgrimage).Level Six: Historical and Cultural Contextualization: Situates the artwork within its specific historical, cultural, social, and political “Qadar” (time and place), addressing how external factors shaped its production and reception.Level Seven: Reading of Divine Presence and Intuition: This ultimate level aims for a supra-sensory and intuitive understanding of the manifestation of sacred truth within the artwork. It delves into how the artwork acts as a locus for divine presence, enabling an immediate spiritual apprehension for the beholder. This is approached through an interpretive phenomenological lens, where the cumulative understanding from previous levels leads to an intuitive grasp of cosmic order (Qadar) and Divine beauty and majesty.This research successfully articulated a novel theoretical framework for the Razavi School of Art based on Dr. Hassan Bolkhari’s “Qadar theory,” leading to the “Seven Stages of the Manifestation of Qadar” theory. This framework offers a systematic and practical approach to reading and analyzing the artworks of the Razavi School. Accordingly, Razavi artworks are defined not only by their temporal and spatial connection to the Holy Shrine but also by their inherent capacity for analysis through these seven levels of manifestation. These artworks, by leveraging the concept of Qadar as divine order and geometry and Tajalli as the manifestation of sacred truth, express Razavi teachings and spiritual values, guiding the audience towards contemplation and inner intuition. The application of this framework to prominent examples of Razavi art, such as the Goharshad Mosque and the Golden Iwan of the Atiq Courtyard, demonstrated its efficacy in uncovering the hidden semantic and aesthetic layers of these works. Ultimately, this study aims to fill a theoretical gap in the understanding of the Razavi School of Art and contribute to the broader field of Islamic art studies. It provides a valuable model for future research in religious art and a guide for contemporary artists inspired by Razavi spiritual heritage.

Existentialism encourages human being to revolt against all of old values and create new values without defining criteria to recognizing correct and incorrect value. Muta’ Safadi has been really affected by Existentialism philosophy among Arab novel writers. He invites the existential characters of his two novels "Jil al-Qadar" (Generation of Fate) and "Tha’ir Muhtarif" (Professional Revolutionist) to revolt against the values. By using analytical and critical method, this survey criticizes the values of two novels according to the religious culture of society. It seems that Safadi had been successful in creating existential characters that revolt against values, and their reason is belonging those values to the past without considering their positive or negative aspects. But he couldn’t resolve what Existentialism faces about the values after not accepting them. The existential characters especially women characters revolt against everything, and live according to their liking, but it isn't compatible with Arabic society was governed by religious culture.

One of the most important and most complicated discussions in theology is the divine knowledge rooted in God's essence and extending to His attributes and actions. We have investigated this issue under the title of the orders of divine knowledge in the transcendental philosophy and concluded that those orders are four. They are as follows: (a) Grace (ʿināyat) with fifteen features, the most important among which are knowledge, causality and divine eternal consent of the best system; (b) Divine Decree (qaḍāy rabbānī) which includes rational and general forms of all beings in the universe in divine domain with features of collectiveness, synopticness, simplicity, and innovativeness; (c) Providential Knowledge (qadar ʿilmī) which includes minute and detailed forms of all beings in the world of celestial souls; and (d) External Providence (qadar khārijī) including the minute forms in the external matters. The Grace has no position, and the Providence and Decree have [certain] positions. The position of Decree is the Sublime Pen and the Preserved Tablet, and the position of Providential Knowledge is the non-sublime pen and the Effacement and Affirmation Tablet. And the position of the External Providence is the material world. Due to regarding both the immateriality of 'the known' and the immateriality of 'the knower' as [necessary] condition in knowledge, Mulla Sadra does not consider the external providence as the last order of divine knowledge, except through the scientific providence, which is free from objections for some thinkers.

The manner of the creation and administration of the universe by God Almighty is an issue whose full dimensions cannot be comprehended by humans. However, by utilizing reason and with the aid of narrations from the Ahl al-Bayt (pbut), humans can, to the extent of their capacity, understand a significant portion of these hidden aspects. As narrated from the Imams,Imam al-Bāqir and Imam al-Ṣādiq (pbut) in some narrations concerning the creation, management of the cosmos, and the ordainment of beings: "Nothing occurs on the earth or in the heavens except through these seven attributes (al-khiṣāl al-sabʾ): by Will (mashīʿah), Intention (irādah), Measure (qadar), Decree (qaḍāʾ), Permission (idḥn), Record (kitāb), and Term (ajal). Whoever claims to be able to invalidate even one of them has indeed committed disbelief. " This research, using a descriptive-analytical method, while examining the chain of transmission and the signification of the mentioned hadith, elucidates the seven degrees (attributes) and their relationship with one another. The findings indicate that these degrees exist in a vertical hierarchy, and no action in the universe is realized outside this system. By emphasizing the sovereignty of this system over all actions, this hadith refutes the Mu'tazilite doctrine of delegation (tafwīḍ), which claims human independence in their own actions. Comprehending this precise system, in addition to explaining the manner of creation and administration of the universe, also clarifies the position of human free will within the cosmic order.

A while ago, Al-Azhar University offered pictures of some of the Arabic manuscripts of its library in its website for public use. Recently, the university has added several Persian and Turkish manuscripts under the title Logat al-Sarq"iyyah (Eastern Languages). Among the Persian manuscripts, there has apparently been a collection including several treatises, but the pages 1-31 are missing in the site. On page 32, a treatise begins entitled Ma'retat al-Sart'ah (Knowledge of the Dogmas), fundamental principles and dogmas of Hanafi religion, written by Abft RasId 'Abd al-RasId Ibn Yftsof, of which I have found no trace in the few sources available. "Gesse-ye Qaia va Qadar va Da'vI-ye SImorg" (The Story of Fate and Simorgh's Plaint), which appears in this paper, starts in the middle of page 41A of the treatise and ends on the bottom of page 46.