IntroductionFayz Kashani lived and wrote his works during the Safavid era, which was one of the most prominent and valuable periods of Shiite history when Shiite narrative books were written. One of his works is Wafi, which he wrote about the collection of four books in 273 chapters, incuding 50,000 hadiths. The foundations of Fiqh al-Hadith included the following issues: an explanation of hadiths by using other hadiths, the use of the context of hadiths, the use of the reason and space for issuing hadiths, the insistence on the emergence, an emphasis on the literal meaning, a reference to Tabadur, the use of different literary sciences, sticking to the Qur'an and interpretation, resolving conflicts from narrative contradictory, the use of document and text preferences. These foundations occurred in philosophical, mystical, theological, literary, ethical, social, and jurisprudential methods. Fayz, with his good command of summarizing books, summarized this book in 1082 AH and called it Shafi. Materials and MethodsThe research method in this treatise is a library method, through the sources that dealt with Fayz's life and education were examined. At first glance, the foundations of Fayz's hadith jurisprudence in Shafi and its use by him in examining hadiths seemed to be the same as the foundations of Fiqh al-Hadith in Wafi. Now, it seems that these principles and their application in Shafi are transformed. As Fayz himself mentioned these changes were in the introduction of Shafi. In this article, the foundations of Fayz's Fiqh al-Hadith in Shafi's book were examined, which has not been studied so far. This research is necessary because Fayz is one of those writers who have been influential. His various writings in different fields of studies can be a testimony to this claim. Examining the foundations of Fayz's Fiqh al-Hadith in Shafi can clarify this influence.Results and FindingsFayz collected four precious books of Shia narratives from Kolaini, Sadouq, and Tusi for himself. The selected principles and methods which he has more or less revealed to everyone in the three prefaces of Wafi included the explanation of the narration with verses and other narrations, the grasp of the context of the narration, a focus on the space of issuing the narration and approaching the Arab history and culture at the time of issuing the hadith and so on . In summary of Wafi, Shafi has more or less adhered to the same principles in most cases. If there was a change in the summary, it was in cases that he had changed the names of books and chapters. The mental map based on which Fayz had taken a step towards summarizing Al-Wafi is very insightful and meticulous, and the value and excellence of this work becomes evident especially when he summarizes approximately 50,000 hadiths of Al-Wafi in 6,024 hadiths. A large share of narrations in the book belongs to the book Kafi by Kolaini; Fayz's quotations from Kolaini are so many that the author has come to believe that he has summarized Kafi and in addition to that, he has benefited from other Arba books to further complete the topics of his book. Most of the explanations and statements in Shafi are the same as those in Wafi's, and in very few cases, he adds some material to Wafi's writings compared to Wafi's show that there has been no change and he has maintained his adherence to Wafi's principles after fourteen years in Shafi. These basics are summarized through the following headings: the method of document reporting, the method of text reporting and the naming of books and chapters, the basics of Faiz Hadith research, the basics of Fayz in evaluating narrations, the basics of Fayz's Fiqh al-Hadith, the use of verses in the description of narrations, the use of narrations in the description of narrations, the use of reason in the description of narrations, pointing to the polysemy of hadith, resolving conflict from narrations, using literary knowledge in the description of narration, interpretationism, approaches to Arabic culture in understanding hadith. ConclusionAccording to the information found about Fayz's life, it became clear that Fayz's thoughts and beliefs changed during his lifetime. For example, when Fayz wrote the book of Mu'tasim al-Shia and when he wrote Al-Kalamat al-Makhzuna, there was a great difference in the foundations of thinking and the methods of dealing with verses and hadiths. The fact that Fayz's scholarly personality is multi-faceted prompted an examination of his two books named Wafi and Shafi, written about 14 years apart to find the changes in his principles and methods in understanding of hadith. After a lot of research in Shafi, the obtained result was contrary to the hypothesis:  that is, the principles and methods of his hadith jurisprudence have not changed.

Iranian painting went through a series of changes in the seventeenth century at the same time as the Safavid rule. One of the most important characteristics of the works left over from this era is the fluctuation in following previous traditions or imitating the qualities of European painting. Although art scholars have proposed possibilities and theories about this painting "Mīkhak Guldān" has the signature of Shafi Abbasi, it seems that it can still be the basis for researches in the field of developments in Iranian painting. In this regard, the aim of the current research is to identify the most important manifestations of following and not following the previous traditions of painting in order to answer the question that: according to the specific time period and cross-cultural influences, in what cases did the painter act under the influence of previous traditions and in What things have been affected by the newly infiltrated cultural currents? With a retrospective approach, this research has used library information collection tools and a descriptive method has been used to achieve a fundamental goal. The results identify the most important manifestations of following the previous traditions: the decoration and the stylization; The details of drawing flowers and vases are in such a way that the painter has considered the best display mode for all components. The vase that is painted in this work is one of the ancient vessels in Iran and its use has been common. On the other hand, it seems that although Shafi considered European naturalism desirable and was influenced by it, he still used the contemporary perspective inspired by previous traditions. Finally, it is believed that the integration of the characteristics of Iranian painting along with the qualities of European painting has resulted in a kind of individual characteristic in this painting.

The literary legacy for a nation provides guarantee for its identity and personality; literary tradition appears the basis of modernity in any realm especially literary modernity, for if otherwise, the literary modernity would be transitory and unsustainable. Modernity proves the presence of tradition in our contemporaneity. Though literary tradition looks forlorn in history during the deep and penetrating developments in the society, it, indeed, keeps on its presence in the contemporaneity whether directly or indirectly however it seems occasionally absent. Tradition, as an absent existence however omnipresent is what we require firmly although some may neglect it.

Since the establishment of the political power and after the war of Dandanaqan (431 BC.), Seljuks as supporters and protectors of "Sunni and Shariah" had challenging relations with different sects of Sunni. The Nishapurian Hanafis’ tension and dissension with Ash' aris, as one of the Shafi' i religion’s theology streams, as well as the cursing and excommunicating of Abul-Hasan Ash' ari and deporting a number of Shafi' i scholars in Nishapur, were among the most important and challenging political-religious crises in the early stages of the establishment of the Seljuks in Khorasan. The tension was the result of the fall of Ghaznavids and the disturbance of the role and presence equations of the followers of Shafi' i and Hanafi schools in the body of the political system in Khorasan. Shafi' i developers classes (tebeqatnevisan) in Seljuk era considered Hanafi- Shafi' i tensions in Nishapur as a "hardship" and a pervasive religious catastrophe for the scholars and followers of the Shafi' i school throughout the Muslim world; while the geographical location and time of the event was limited to Nishapur and not exceeded three years. Although this incident was introduced as a religious tension and crisis, more than the theological and ideological differences and consequently religious competitions, the political competitions of the religious elites in their attempt to participate in the political system of Seljuk played a decisive role in this event. With regard to what has been said earlier, this study tried to critically analyze and evaluate the various dimensions of Ash' ari -Shafi' i’s and Hanafi’s crisis and tension in Nishapur in relation to the role of the political competitions of the elites of these schools and the policies of Seljuk government in taking the advantage of such situation, relying on the historical traditions and their reflections in the works of some researchers.

Mohammad Shafi Tehrani, Indian born from an Iranian origin, has written the book Meraat al-Sadiqin from 1729 to 1746, in four sections with the aim of presenting the history of the Timurids of India. A separate section of it, was published in the history of Afshari under the title of Nadernameh and Meraat E-Varedat. In this article, an attempt was made to express in a descriptive-analytical method, with the help of library resources to show how the Nadernameh and the Meraat E-Varedat can be the same as the Meraat al-Sadiqin. What are the reasons for the similarities and differences between Mohammad Shafi's historiography and the Iranian historiographical tradition? What issues were involved in choosing the type of historiography he used? This study shows that both works, due to the similarity of the writing method and thematic relationship and Tehrani reference to the general name of the work in both versions that have been neglected by the editors, is the same part of a single work entitled Meraat al-Sadeqin. Despite the continuation of the Iranian historiographical tradition in Merat al-Sadiqin and to some extent the tendency towards tolerance and open-mindedness, distance from Iran, familiarity with Persian literature and interaction with Iranian writers living in India, accessing to and influence from Iranian sources, his time and place in narrating history, being influenced by the Indian intellectual atmosphere and having Sufi beliefs and the prevalence of this kind of attitude in Tehrani’ s thought determine the type of orientation in his method of historiography.

1. Introduction: The present study is the result of a detailed study of Attar of Nishapur’, s Tadhkirat Al-Awliya as edited and illustrated and commented on by Mohammad Reza Shafi’, ee Kadkani (Tehran, Sokhan Publications, 2019). The result of this study was the discovery of some points that might be useful in better understanding of some stances made in the text of Tadhkirat Al-Awliya. The notes raised in this article fall into three categories: A) most of these points incorporate discovery of sources and references of narrations and anecdotes of Tadhkirat Al-Awliya in its preceding Arabic sources. B) The second category of points raised here include the interpretation and description of some parts of the text of Tadhkirat that may be explained by local terminology. These are words not found in the Persian poetry and prose, but still common in local dialects of some parts of Kerman province, especially Sirjan city. C) The third group includes two instances of historical studies, the first of which is on the incorrectness of a story in Tadhkirat Al-Awliya (the story of informing Sahl bin Abdullah Tostari about the death of Shah Shoja’,Kermani) discussed under historical and textual evidence. The second instance is about the location of Shah Shoja Kermani’, s tomb. Based on creditable evidence, the present article has marked the accurate location of the tomb of this illustrious sage and mystic to be in Sirjan. . .

Comparative literature uses the method of comparison to study the literature of different languages ​​and their complex relationship at different times and in various areas of subjects, schools of thought, literary theories, literary types, etc. Payment. In the Kurdish language, there are some poetic lyrical stories influenced by Khosrow and Shirin, but so far no significant research has been done in the field of their application. The Kurdish poem Shirin and Farhad, narrated by Mirza Shafi Pavehi, is one of the poems written following Khosrow and Shirin Nezami. In simple and fluent language, this work tells a different story about the story of Shirin and Farhad with a mythical structure. In the Kurdish system, apart from the names of the characters, the main course of events and the general framework of the story differ from the military narrative. In this research, which has been done in a descriptive-analytical and library method, the author intends to analyze the building blocks of the story in two poems "Khosrow and Shirin" and "Shirin and Farhad" by Mirza Shafi, strengths and Identify their weaknesses and gain more knowledge about them. In this study, the differences between these two stories in the field of story design (conflict, knotting, untying, accident), characterization and staging were examined. Studies in this field show that Mirza Shafichr('39')i did not do well in imitating the military system and the elements of the story in his work are poorly represented, which makes the plot of Shafichr('39')s story weaker than the military.

literary text has a unique capability. the reason for this is the presence of some of the characters in the text. the present article attempts to analyze the two literary industry of symbols and paradox in shafiee kadkani ''s poetry that they have meaning in permanent deterministic and semantic suspension and also as two literary industries that create a deep gap and gap between ordinary language and rhetorical language. the main question of this research is: how much does the symbol and the paradox contribute to the creation of different semantic layers in our poetry and the contribution of each of these two arrays to create gap and gap between the common and rhetorical poles of language and create a sense of the meaning of the text? the findings and evidence in the text indicate that the symbol element has more important position compared to paradox in fluency and uncertainty, negation and suspension of meaning in shafiee poems and paradox also has novelty, beauty and usefulness in comparison with less frequency symbols. accordingly, shafiee kadkani gets a literary and deep gap between the normal language and the idea of text - that the result of which is the breaking of the normal structure of language and the passion of emotion. the research method is descriptive and analytical. Introduction Literary text has the ability to be multi-layered and interpretable. That''s because of the presence of some images in the text. One of the main elements of poetry that every poem should have without any doubt is imagination, which has also been considered as "part of the essence of poetry and the assessor differentia of poetry" (Shafiee, 2001,p. 94).Of these imaginary elements, groups such as symbol and paradox do not have a single meaning and groups such as sensory descriptions and sensory similes produce a single meaning. In other words, some elements of imagination engage in the deconstruction of text and are deconstructive. Accordingly, deconstruction theory has an important place in literary criticism. Basically, images, depending on their inherent frankness or ambiguity, create a gap between ordinary language and rhetorical language, in which symbolism and paradox are more prominent and produce the most space between text and idea.These two rhetorical images and figures of speech cause a double multilayerity of meanings in the rhetorical system in that they do not accept the fixed and permanent meaning. That''s why any text with these two virtual elements brings a suspension of meaning, multilayerity and interpretability with itself. Accordingly, Shafi''i Kadkani, based on his true understanding of the power of symbol in dynamism and transtemporality, creates a deep literary gap between ordinary language and the idea of ​​the text, which results in breaking the normal structure of language and the passion for emotion in meaning. This article tries to analyze two figures of speech of symbolism and paradox in Shafi''i poetry in terms of their role in permanent, definite suspension and the multilayerity of meaning and also as two figures of speech that create a deep gap between ordinary language and rhetorical language. The main question of this research is: To what extent symbolism and paradox play a role in creating different semantic layers in Shafi''i poetry? And what is the contribution of each of these two figures of speech in creating a gap between the two ordinary and rhetorical poles of language and creating a multi-layered meaning of the text? Findings and evidence in the text show that the symbolic element has a more important place in Shafi''i poems than the paradox in fluidity and uncertainty, concealment and suspension of meaning. And paradoxically, despite the novelty, beauty, and its dramatic usage, it has less frequency than the symbol. Research Methodology This research has been done by descriptive and analytical method and by presenting evidences and figures and drawing diagrams and tables and the theoretical sources of research are based on Shafi''i Kadkani poetry books.Content analysis is a method that can be applied to various types of messages contained in literary works, articles, official documents, etc (Daniel, Rife and Lacy Stephen, 2009, p. 23) or any technique by which the specific characteristics of the message are methodically and accurately identified for scientific inference. Accuracy and objectivity ensure that the analysis is based on specific rules to enable scholars to achieve the same results from research (Taleghani, 1390, p. 95-96). Discussion Rhetorical metaphors such as symbolism and paradox have a profound effect on the emphasis of the text. These two figures of speech, on the one hand, create a halt in the immediate acceptance of the text, and on the other hand, do not accept a single meaning and induce ambiguity and interpretability. These two figures of speech, by disrupting the logic and habit of language and the displacement of meanings and signs, disrupt the normal and semantic system of language and make the concept multi-faceted and multi-layered for the audience. The text itself, with the help of these two rhetorical figures of speech, directs the mind and its structure beyond these meanings and signs and makes it difficult to understand the text instantly and momentarily. This initial ambiguity, which is the result of a deep gap between ordinary language and rhetorical language, provides a basis for thinking so that the reader can go through the initial reading and after reflection and pause in later readings, through the interpretation and ambiguous structure of the text, receive and realize the text, according to his understanding and power of criticism and textualism. Poets, depending on the type of symbolism - innovative, imitative and organic - and the degree of its presence and frequency, paradoxicality, their consensus and accompaniment with emotion, give extra-temporal and transhistorical meaning to their poetry, which plays an important role in fascination and effectiveness of the text. Shafi''i poetry has this approach due to the high presence of symbols, which are generally innovative and new and that his poetry is simple, but participates in several concepts and readings, is due to the presence of these various symbols that deepen the gap between ordinary language and virtual language, and using this feature to create interpretability and multilayerity in the idea of the text. The use of symbolic images in Shafi''i Kadkani''s poetry and thought is a way to express and raise issues and themes that he has not been able to express directly and explicitly, and is a way of entering into issues and expressing the pains that society and the authoritarian atmosphere have not allowed to approach. This approach, which can be clearly seen in all the poet''s books and the world of Shafi''i poetry and thought is full of it, is a burden that the poet, in addition to the literary and artistic richness of his poetry, uses to design religious, mythological, historical, national and ethnic ideas. And Iranians and Muslims have benefited and put them in the service of the language of poetry. It can be said that the symbol has added to the artistic and intellectual richness of Shafi''i poems and has given them a special dynamism and movement. The symbolism in his poetry is not only an artistic and literary technique, but also a necessity that gives the poem unique features such as semantic expansion, interpretability and emotional consensus. These symbols create the feeling of pleasure and the floating of meaning in the reader, and the audience finds a different depth in the text while reading these images. Regarding the presence and quality of the paradox in Shafiee Kadkani''s poem, it can also be said that although Shafi''i paradoxes are beautiful, vivid and innovative, M. Sereshkk''s mind did not take the desired action in carrying out these imaginary forms or at least in terms of quantity, it does not have a high frequency, and if all Shafi''i Kadkani''s poetry books are viewed and examined from this particular perspective, it becomes clear that this figure of speech does not have high power, dynamism and multilayerity in comparison with symbolism and types. Conclusion Symbolism , which is an important and basic element of imaginary forms in Shafi''i Kadkani poems, has had the highest action and consensus with the poet''s emotions and ideas. The artistic presence of this image in Shafi''i Kadkani''s rhetorical apparatus, with the most frequent use, which is the result of Shafi''i''s view of innovative forms of imagination, has not only distorted the logic of ordinary language to make polysemy and multilayerity in his poetry but has provided the greatest experience of textual freedom for interpretability. It can be clearly said that this image has the highest harmony with Shafi''i emotions and the culmination of all the artistic and rhetorical tricks of Shafi''i poetry that has produced scenes, images and emotions that are harmonious and lasting. On the other hand, the presence of a special type of symbolism called the symbolic symbol has given a special characterization and prominence to Shafi''i poems. This particular type of symbol is not only aligned with the emotion of Shafi''i poetry, but is also woven into it, creating spectacular, astonishing and inseparable images in his poetry. Images in which an object (word) is placed as the center of the rhetorical and ordinary center of poetry are intertwined until the end of the poem, and this has led to the creation of pure literature that avoids accepting the final meaning. This image, with its multi-layered meaning and lack of emotional one-dimensionality, has made the poet''s poems historical and transtemporal. Shafi''i symbols are important depending on the gap they create between ordinary language and virtual language, and they interfere with the interpretability of the text. Analyzing the rhetorical element of paradox in Shafi''i Kadkani''s poems, it can be concluded that although he does not use this figure of speech much in drawing and depicting his emotions and thoughts, the examples used in his poetry are all in rhetorical freshness and semantic depth and is a strong evidence to his ability to apply paradoxes. 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