درخت حوزه‌های تخصصی

Light and color are effective factors in the creation of works of art, which, as the most immaterial element of nature, have always been influential in Iranian Islamic painting, and in fact, they represent the sublime world and spiritual atmosphere Also, the research about light and color in painting and its impact on painters and its contribution to the scope of expressing the influence of mysticism in the whole Islamic culture and art is at the starting point certainly knowing and understanding the three words mysticism, light and color and finding their meaning and meaning in a symbolic way is not only effective in better understanding Iranian and Islamic painting, but also our insight in understanding the Islamic ideas that are rooted in mysticism and Sufism and It also makes the behavior smoother. Colors have a chemical aspect in art, and mixing them is an art similar to alchemy. The main concern of this research, which is presented in an analytical way, is aesthetics and investigating the mystical aspects of paintings and motifs in Islamic civilization in Iranian art and architecture. It seems that Islamic art and architecture tries to manifest God's unity among colors, forms, lights, and sounds. Each color has a special allegory and a relationship with one of the inner states of man and soul. Color is an important factor for spiritual use in the painting effects of Islamic architecture. Mosques in the Islamic world usually use turquoise green and blue colors. Blue and turquoise colors are the main background colors of walls, tiles, altars, domes, and courtyards and along with the golden color in Iranian Islamic paintings, among other colors, they have a special shine and effect. These colors are manifestations of the inner meanings of colors. The colors of turquoise, green and white, which are symbols of nature's sky and divine light, respectively, are mixed together and add to the majesty of the mosques. The colors that result from the radiation of light are a symbol of the manifestation of unity in multiplicity and the dependence of multiplicity on unity. The reflection of the existence of colors in Iranian art shows an extraterrestrial truth outside the world of the senses, rather than imitating the surrounding natural colors. Vigilance and accurate insight in the arrangement of colors and the correct selection of each color refers to a symbolic concept of colors and their mutual effects that permeate the human soul and spirit.

The Khafīfīyya Order is attributed to Ibn Khafīf, Sūfī of the fourth century AH (882/982) who lived in Shiraz. The concepts of Absence ( ghaybah ) and Presence ( ḥoḍūr ) are central ideas in Ibn Khafīf's school. However, the existing literature provides only a brief mention of this attribution to Ibn Khafīf, the founder of the Khafīfīyya Order. Given the lack of in-depth study on Ibn Khafīf's social approaches, this article seeks to elucidate the significance of mentioned ideas within Ibn Khafīf's intellectual framework and expound on the interpretation of their meanings. This research adopts Chandler's semiotic approach to delve into the ideas of "absence and presence" within context. The findings of this study reveal that Ibn Khafīf endeavored to show isolation and seclusion as different and sometimes even contradictory acts of abstinent ( tark ) from worldly matters.