درخت حوزه‌های تخصصی

Adrienne Mayor’s The Poison King is a fascinating biography of Mithradates Eupator Dionysus, one of the most controversial monarchs of ancient history who has been especially neglected by scholars of Iranian history. This biography, like any other about ancient heroes, is full of tales, legends, stories, and historical narratives and its crafty author knows how to distinguish between fact and fiction. The book contains 15 chapters, in which, other than  the first, the remaining chapters are arranged based on Mithradates’ life, from his birth to his death.

Khalifeh Kandi village is located in the southeast of the Sahand mountain range and northwest of Hashtrud province. Investigation at these sites started in 2013 and continued until 2015. Obtained evidence included a variety of potteries, carved stones, and caves from the historical and Islamic eras. in this paper an attempt has been made to introduce and analyze cultural and historical founds. The result shows that most of the surveyed sites and places around Khalifeh Kandi, in terms of pottery types, belonged to the Islamic period and rarely, artifacts from the pre-Islamic period were observed. The settlements identified in the area under study are mostly located in w slopes by the river and shallow valleys, and only one of these archaeological sites was observed in flat and elevated lands. probably this site was used in certain seasons of the year. Glazed and simple pottery from the Islamic period and rough pottery that was produced in local workshops are among the artifacts observed in the surveyed sites.

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.