درخت حوزه‌های تخصصی

The paper at hand deals with Zoroastrian eschatology. Frashokereti, as it is called, is the term which is used in Zoroastrianism in order to express the end of times. This being the main focus of the current paper, the topics that will be unfolded are the arrival of the Saoshyant, who is the central Zoroastrian salvific figure and Zarathustra’s biological descendant who has been miraculously born of a virgin, the resurrection of the dead, their last judgement and the final battle between the forces of good and evil. The general clash between good and evil acquires a more precise character and becomes personified in the deities of Ahura Mazda and Ahriman respectively, the fundamental sources of morality and immorality. Regarding the above, the interrelated themes of man’s salvation and the restoration of the universe to its primary undefiled state are presented as results of the victory of good over evil. It will also be displayed how the concept of universal renewal is viewed not merely as a countdown, but moreover as a stepping-backwards to the conditions of the first state of creation, Frashokereti becoming thus a mirror of the first things in terms of Zoroastrian cosmogony. At the same time, other aspects, namely the Zoroastrian story of creation, its corresponding cosmology, the dichotomization of the world into two opposite spheres and the dualism that penetrates the universe in relation to the free will of man are introduced to the reader, so that a deeper understanding may be acquired in regard to the ways, the quality and the content of universal purification and renovation.

Emphasis on the importance of social-political fabric and its effect on the urbanization and economic system that are aspects of urbanization life is one of the necessities during the Achaemenid Period. This study was conducted based on the deductive-inductive method. First, written sources (clay inscription of Persepolis and classic authors) have been used to achieve general information about the social-political fabric of Fars during Achaemenid Period then archeological evidence remained from the economic system of Achaemenid period in Central Fars was analyzed within this framework. No coin, including Shahi or so-called Satrapy, has been discovered from archaeological excavations in Iran, even. It seems that Achaemenid Empire had no plan for monetary economic development, and coin promotion and use in transactions despite its wide territory and regular discipline. On the contrary, it seems that Darius and his successors considered coin as a political instrument used to convey and show the message of the political and military power of the Achaemenid king at that ear not as a tool for the economic system. Therefore, studies focused on clay inscriptions of Persepolis and evaluated works of authors indicate that the sociopolitical fabric of Iranian society, especially Fars has been traditional and based on agriculture and husbandry during Achaemenid Era. As we know, the city was not shaped during the Achaemenid period despite the presence of urban structures, such as social sophistication, specialism, and the modern administrative system of the ear; therefore, coin use was not institutionalized in the economy of that era.

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.