دانشگاه سیستان و بلوچستان مطالعات شبه قاره 2008-5710 18 50 2026 03 21 Comparative study of plot of story of Sivash and Ramayana بررسی و تحلیل تطبیقی پیرنگ در داستان سیاوش و رامایانا 9 26 8979 10.22111/jsr.2025.50762.2473 FA آرزو امجدیان دانشجوی دکتری زبان و ادبیات فارسی، دانشگاه ارومیه، ایران. فاطمه مدرسی استاد گروه زبان و ادبیات فارسی، دانشگاه ارومیه، ایران(نویسنده مسئول) Journal Article 2024 05 30 The story of Sivash in Ferdowsi's Shahnameh and the story of Ramayana by Valmiki are both part of epic stories in verse, which have similarities from the point of view of mythological themes; However, no attention has been paid to researching their story elements ; Therefore, we have examined Plot two stories from the point of view of modern literary criticism, in order to find out how much they are consistent with the principles of modern story writing; Therefore, firstly, we made an introduction about the elements of fiction and plot, in a library style, and then we compared the elements of plot in two works, and after that we found that both works are part of plot based on story writing. modern have benefited; Of course, the Shahnameh has a more complex introduction, knotting and unraveling, and the sequence of events is more logical. Both stories have paid attention to the interpretation of dreams and prophecy; But this has led to a logical sequence of events and more tension in the Shahnameh; While, in Ramayana, this and also considering the omens of the events, caused it to be less strong than the Plot Sivash structure. <strong> Introduction</strong> Although some writers limit fiction to the field of prose fiction; but considering that fiction has a long history, as long as the history of human life and in fact, its age reaches back to the origins of literature and is related to early humans and before the invention of writing and writing, (Forster, 1980: 46) in addition to prose works, it also includes poetic works; therefore, in this study, narrative poetic systems such as Shahnameh and Ramayana are considered as fictional works, in order to conclude to what extent such works are compatible with modern fiction; because understanding their fictional elements as the oldest surviving fictional works helps to understand the process of formation and evolution of modern fiction and to the progress of fiction. Therefore, the prominent epic works of the two peoples of Iran and India, who lived in the same land in ancient times and undoubtedly had countless similarities, are a suitable option. Considering that “recognizing the elements of the story and recognizing their appropriate and purposeful application in stories is of particular importance in fiction literature; because it is the correct application of the elements of the story that separates an average writer from a creative writer during the process of transferring the plot to the story.” (Mestour, 1379: 29) The more capable, tasteful, and precise the writer uses them, the higher the quality of his work will be. The best way to recognize texts that are based on a story is to analyze their story elements. Plot, which is one of the most important elements of a story that is very involved in the course of events of the story and overshadows other story elements, is of particular importance in this regard; therefore, the plot element was considered for examination and research. In this study, the plots of these two stories were examined and compared to answer the following questions: 1- Is their plot based on the structure of modern storytelling? 2- What are the similarities between their plot structures? 3- What are the strengths and weaknesses of each of them in using plot components? <strong> </strong> <strong> Research Methodology</strong> This research was conducted based on a descriptive-analytical method and by utilizing the library method and collecting evidence from the works in question; first, the plot components of each work were examined separately, and then an overview of the plot structure of each was presented, and finally, by matching and comparing their plot structures, the desired result was achieved.   <strong> Discussion</strong> Similarities and differences in the plots of the two stories: Both works have a closed plot and the fate of the characters is determined at the end of the story. The plot principles, in accordance with literary criticism, can be seen in the plots of both works; but the plot structure, story logic, and cause-and-effect relationships of events are more in the Shahnameh than in the Ramayana. Fatalism and prophecy: What has caused the weakness of the plot from the perspective of modern storytelling in these two works is fatalism. Of course, the Ramayana has paid more attention to fate than the Shahnameh, and Ferdowsi was able to coordinate the effect of fate with the story logic. Fatalism makes the events predictable for the audience and reduces the tension of the story. In the Ramayana, the events of the story are stated with fate before they happen; but in the Shahnameh, sometimes with prophecy, the end of the story is generally stated, and the events of the story are not stated with fate. Bad and good omens: Attention to omens and its effect on the story action is more prominent in the Ramayana. Before the action of the story, it is predicted by the omen of events; but this is rarely seen in Siavash's story. Dream: "Many of the main events of the epic are depicted in the dreams of the heroes before they happen." (Sarami, 2009: 554) In the process of Siavash's story, dream is also very important and has affected its plot; for example, Afrasiab dreams that he is cut in half by the son of Kavus; then, he is afraid and makes peace with Siavash and this dream has affected the process of plotting the story and is part of the logical course of the story; therefore, not only does the interpretation of dreams not reduce the tension of the story, but it is also achieved with the help of cause and effect relationships of events. In the Ramayana, Sita's guardian dreams that a monkey came and burned the city of Lanka, and the same thing happens. This dream, which is interpreted later, is neither part of the logical course of events nor does it contribute to the story's further development; it only weakens the story's tension and plot.   <strong> </strong><strong>Conclusion</strong> The introduction in both stories has taken place with the necessary tension. In the story of Siavash, the story begins with the discovery of a beautiful woman in the forest and Kikavus' love for her and the birth of Siavash from her. In the story of Ramayana, the story begins with a description of Ravana's tyranny and then, like in the story of Siavash, enters the main story with the birth of Ram. In the continuation of the plot of Siavash's story, Ferdowsi establishes the cause-and-effect relationships of subsequent events by presenting logical events (such as Kikavus sending Siavash as a child to be educated by Rostam) and thus helps to strengthen the plot of the story. While in the story of Ramayana, after the introduction, by presenting Sita's love for Ram, he creates tension in the course of the story's plot and increases this tension by presenting the ceremony of choosing a wife for Sita by holding a competition among the suitors; But it failed to develop and expand it as it should have, and it destroys the audience's sense of expectation at the very beginning and before it turns into horror. In the course of the plot of both works, we witness the interpretation of dreams and prophecies. The dreams mentioned in Siavash's story not only did not weaken the plot, but were either part of the cause-and-effect sequence of events or helped increase the sense of suspense; but the interpretation of dreams in the story of Ramayana is not only not part of the logical course of the story, but also reduced the tension of the story. In general, although in both works, as the climax approaches, the sense of suspense and tension of the story and conflicts gradually increases, and then it turns into a crisis, and finally, after reaching the climax, the unraveling occurs; but in the story of Ramayana, these tensions and the sense of suspense and crises are presented much less than in Siavash's story. Therefore, these two works in a way represent the evolution of story writing; because both of them originate from the same foundation and story; but in the Ramayana, because it was written before the story of Siavash in the Shahnameh, the plot is close to primitive storytelling, and the fatalism, prophecy, omen, and the initial atmosphere of the story have weakened the plot and reduced the tension and sense of suspense of the story; however, while Ferdowsi has recounted destinies through fatalism and prophecy, he has paid attention to the logical sequence of the story plot by observing the cause and effect relationships of events, and has made the story more acceptable and more exciting for the audience, and its plot is more in line with modern storytelling and works better in storytelling than Valmiki, and this is evidence that these works have laid the foundations of modern storytelling.   <strong> References</strong> Arinpour, Yahya. (1372). From Saba to Nima, Tehran: Zovar. Abbasi, Sakineh. (1403). Analysis of the applied components of cultural diplomacy of the Islamic Republic of Iran in India, Subcontinental Studies Quarterly, 16(47): 149-166. Asgari Hasanklou, Asgar. (1387). Social criticism of the contemporary Persian novel, Tehran: Forozan Rooz. Dad, Sima (1378). Dictionary of literary terms, third edition, Tehran: Marwarid. Ferdowsi, Abulqasem. (1390). Shahnameh, based on the Moscow edition, Tehran: Hermes. Forster, Edward Morgan. (1369). Aspects of the novel, translated by Ebrahim Yunsi, second edition, Tehran: Amirkabir. Mastur, Mustafa. (1379). Basics of short stories, first edition, Tehran: Sokhn. Mirsadeghi, Jamal. (1376). Fiction, third edition, Tehran: Scientific. Mirsadeghi, Jamal. (1383). Fiction and literature, first edition, Tehran: Ayane Mehr. Mirsadeghi, Jamal. (1388). Fictional elements, 6th edition, Tehran: Sokhn. Omrani, Heydar Ali. (1374). Writing keys for cinema, theater and television, first edition, Tehran: Cultural Research Office. Parsinejad, Kamran. (1378). The structure of story elements, first edition, Tehran: Hozeh Hanari. Riahi, Mohammad Amin. (1367). Ferdowsi, Tehran: New design. Rouzbeh, Mohammadreza. (1384). Contemporary Iranian literature (prose), second edition   Tehran: Rozgar. Sarrami, Gadhamali. (1388). From the color of the flower to the pain of the thorn (morphology of the stories of Ferdowsi's Shahnameh), fifth edition, Tehran: Scientific and Cultural. Sheikh Hosseini, Zainab and Maryam Khalili Jahantigh. (2013). Analyzing the structure of Siavash and the two stories of Ramchander and Sednava in India, Subcontinental Studies Quarterly, 6(21): 79-98. Val Miki, Tulsi Das et al. (1379). Ramayana, the oldest epic text, the romance of India, translated by Amr Sankehe, Amr Prakash, Tehran: Elest Farda.   داستان سیاوش در شاهنامه فردوسی و داستان رامایانای والمیکی، هر دو جزء داستان‌های حماسی منظوم‌اند، که از منظر بن‌مایه‌های اساطیری شباهت‌هایی دارند. در سال‌های اخیر مطالعات تطبیقی بسیاری میان این دو اثرانجام شده است؛ اما به تحقیق در باب عناصر داستانی آن‌ها توجه نشده است. از آنجا که پیرنگ مهم‌ترین عنصر داستانی است و یک داستان خوب قطعاً دارای یک پیرنگ مستحکم است؛ بنابراین، پیرنگ دو داستان از دیدگاه نقد ادبی مدرن، بررسی شده است، تا معلوم گردد، چه میزان با اصول داستان‌نویسی مدرن منطبق‌اند؛ بنابراین، ابتدا مقدماتی در مورد عناصر داستانی و پیرنگ، به شیوه کتابخانه‌ای بیان شد و سپس اجزای پیرنگ دو اثر مورد وارسی تطبیقی قرار گرفته شد و پس از آن‌، این نتیجه به دست آمد که هر دو اثر از اجزای پیرنگ بر اساس داستان‌نویسی مدرن بهره جسته‌اند؛ البته شاهنامه، مقدمه‌چینی، گره‌افکنی و گرهگشایی پر کشش‌تری دارد و توالی حوادث آن با سیرمنطقی‌تری همراه است. هر دو داستان به تعبیر خواب و پیشگویی، توجه داشته‌اند؛ اما این امر، در شاهنامه به توالی منطقی حوادث و کشش بیشتر آن انجامیده است؛ درحالی که، در را مایانا همین امر و همچنین توجه به شگون حوادث، باعث شده که نسبت به ساختار پیرنگ سیاوش، استحکام کمتری داشته باشد. https://jsr.usb.ac.ir/article_8979_c3527a398046ebeaffbd3b220e5a493a.pdf

دانشگاه سیستان و بلوچستان مطالعات شبه قاره 2008-5710 18 50 2026 03 21 The Study of Types of Orientational Metaphors in Saeb Tabrizi's Sonnets (Volume 1): A Cognitive Approach بررسی انواع استعاره‌های جهتی در غزلیات صائب تبریزی (جلد 1): رویکردی شناختی 27 44 8677 10.22111/jsr.2024.48882.2442 FA عباسعلی آهنگر استاد زبان‏شناسی، گروه زبان و ادبیات انگلیسی، دانشگاه سیستان و بلوچستان زاهدان، ایران ستاره مجاهدی رضائیان دانشجوی دکتری علوم شناختی-زبان‏شناسی، دانشگاه فردوسی مشهد، مشهد، ایران رعنا جمشیدبیگی دانشجوی دکتری ، گروه زبان و ادبیات فارسی، دانشگاه سیستان و بلوچستان زاهدان، ایران بی تا خراسانی کارشناس ارشد زبان شناسی، گروه زبان و ادبیات انگلیسی، دانشگاه سیستان و بلوچستان زاهدان، ایران. Journal Article 2024 05 30 Metaphor has been studied from different literary, linguistic, aesthetic and psychological perspectives, being the subject of various types of research over the centuries. As to cognitive linguistics, conceptual metaphor theory is one of theories with a new look at metaphor proposed by Lakoff and Johnson in the form of orientational, ontological, and structural metaphors. This research aims to describe and analyze how types of orientational conceptual metaphors are represented in Saeb Tabrizi's sonnets (volume (1)) adopting Lakoff and Johnson’s cognitive analysis. This research is of descriptive-analytic type. Research results show, in his sonnets, the poet has used abstract concepts related to human feelings and beliefs, the ups and downs of time and life, mystical themes, human progress and regression, and all of the individual's daily experiences as target domains. Accordingly, in order to objectify and materialize such concepts, he has employed various orientations, such as down, up, rotation, far, near, outside, inside, middle, corners and sides, facing, surrounding, and back, as source domains. The results also display that most of the orientations can be observed in his sonnets with different frequencies and there is a significant difference between the frequency of using types of orientational metaphors in these sonnets. <strong> Introduction</strong> For the first time, the epistemological and conceptual role of metaphors in the form of a new theory was proposed by Lakoff and Johnson in the book "Metaphors We Live By" in 1980 (Croft and Cruse, 2004: 194). Considering the nature and cognitive function of metaphors, Lakoff and Johnson (1980) presented a threefold division of metaphors including orientational, ontological and structural metaphors. In addition, in the explanation and cognitive analysis of Lakoff and Johnson’s (1980) model, each conceptual metaphor, in turn, includes the source domain, target domain, and mapping. The source domain is considered as a domain from which metaphorical expressions are extracted and mostly refers to entities, phenomena, and material, objective and tangible matters that are experienced and perceived in the physical world with the help of the senses. While the target domain includes abstract and mental concepts and matters that are understood with the help of the source domain. Mapping refers to the epistemological and ontological structural correspondences between the concepts and phenomena of the target and source domains (cf: Croft and Cruse, 2004; Evans and Green, 2006; Kövecses, 2010; Lakoff, 1993). So far, conceptual metaphors in the poems and sonnets of other poets have been examined from the perspective of cognitive linguistics, for instance, the analysis of conceptual metaphors in Persian lyric poetry of Divan Shahriar (Salamati, 2017), and the representation of conceptual metaphors in “Siyavash” Story of Ferdowsi’s Shahnameh (Khalifehloo and Mojahedi Rezaeian, 2022). Although the metaphors of Saeb Tabrizi's sonnets have been worked on from other aspects and perspectives, except for one case from a cognitive perspective (an examination of the conceptual metaphors of "sorrow" in Saeb Tabrizi's sonnets based on a cognitive perspective, (Kazemi Bazardehi, 2017), has not been the subject of any other research. Therefore, the types of orientational conceptual metaphors in volume (1) of this work can be investigated based on the theory of Lakoff and Johnson (1980). Correspondingly, different types of conceptual domains, the source domains, target domains as well as related mappings can be identified, described, analyzed and compared. Also, it is possible to determine the significance level of the difference between the usage of different types of orientational conceptual metaphors in Saeb Tabrizi's (volume 1) sonnets. Accordingly, the research questions are: 1- How are the types of orientational conceptual metaphors represented in Saeb Tabrizi's sonnets (volume 1) based on the cognitive analysis of Lakoff and Johnson (1980)? 2- Is there any significant difference between the frequency of using different types of orientational conceptual metaphors in Saeb Tabrizi's sonnets (volume 1)? According to the research questions, the corresponding hypotheses are: 1- All kinds of orientational conceptual metaphors are represented in Saeb Tabrizi's sonnets (volume 1) according to the cognitive analysis of Lakoff and Johnson (1980). 2- There is a significant difference between the frequency of the use of orientational conceptual metaphors in Saeb Tabrizi's sonnets (Volume 1). <strong>1.1. Research methodology </strong> The method of this research is descriptive-analytical, which is considered to be the most effective method in literary research. In this research, the types of orientational metaphors of Saeb Tabrizi's sonnets (volume 1) were extracted, classified, described and analyzed based on the types of conceptual domains proposed in the view of Lakoff and Johnson (1980). In this connection, the types of source and target domains were studied, identified and what were their mappings. Then, the frequency of the use of each was statistically analyzed by software (Statistical Package for the Social Science/SPSS) to determine the frequency of the types of orientational metaphors observed in this work. Also, the Chi-square test was used to determine the significance level of the difference in the use of these metaphors and related subsets.   <strong> Discussion </strong> The review and analysis of all the verses in volume (1) of Saeb Tabrizi's sonnets show that the poet has used a large number of orientational conceptual metaphors in his sonnets. A variety of orientational metaphors with a diverse and significant number, with different and wide domains of source and target, and meaningful mappings were abundantly seen in his poems. In this regard, a number of 6309 orientational conceptual metaphors were identified in 9913 verses of Saeb Tabrizi's sonnets (Volume 1). These findings indicate that Saeb Tabrizi’s mind and poetic language is very metaphorical and, with his metaphorical language and the power of his words, he arouses the emotions of the audience and conveys his intended concepts to the audience with literary language and thought-provoking metaphors. In this regard, the orientational conceptual metaphor "down" ranks first among the orientational metaphors used in Saeb Tabrizi's sonnets (Volume 1). The poet has used this metaphor to refer to concepts such as "debasement", "worthlessness", and "inability". In the orientational conceptual metaphor "high", the poet uses this type of metaphor to express conceptual matters that are in a high position, such as "progress", "success", "happiness", "command" and "abundance". The orientational metaphor "rotational" like "Afalak" (i.e. the heavens) is not seen among the orientational metaphors considered by Lakoff and Johnson (1980), but Saeb Tabrizi's use of it is significant, which is the highest among orientational metaphors after the downward and upward orientational metaphors. Since Saeb Tabrizi lived for a long time in "foreignness" in India and far away, and also his sadness for his distance from the "goal of life" which is "God" is great, he frequently uses the orientational metaphor "far" in his sonnets. Similarly, Saeb Tabrizi has used the orientational conceptual metaphors like "near", "inside", "outside", "opposite", "middle and center", "side and corner", "around and surrounding". In addition, the results of this study are in line with the results of other related studies (Afrashi, Hesami, & Salas, 2012; Shakeri, Oveisi Kahkha, & Ahangar, 2023). Thus, based on the discussed results of the research, the answer to research question (1) is that the types of conceptual metaphors in Saeb Tabrizi's sonnets (volume 1) in the vast majority of cases are represented in accordance with the cognitive analysis of Lakoff and Johnson (1980). Hence, the research hypothesis (1) is generally confirmed. Furthermore, according to the presented statistical analysis and the existence of a significant difference between the frequency of the use of various orientational conceptual metaphors in Saeb Tabrizi's sonnets (volume 1), the answer to the research question (2) is positive and the research hypothesis (2) is confirmed.   <strong> Conclusion</strong> By analyzing the verses of Saeb Tabrizi's sonnets (volume 1) to find different types of orientational conceptual metaphors, it was found that most of the orientations can be observed in Saeb Tabrizi's sonnets (volume 1) including: down, up, rotation, far, near, outside, inside, middle and center, corners and sides, facing, surrounding and back orientations are present in his sonnets with different frequency and percentages. Also, the results of the chi-square test designated the significance of the difference between the frequency of the use of different types of orientational conceptual metaphors and that the poet uses different types of orientational conceptual metaphors to express (more) objectively (more) abstract, spiritual and esoteric concepts and matters as well as different mystical thoughts, as target domains. Likewise, the remarkable point in Saeb Tabrizi's use of orientational metaphors is that he has used opposite orientational conceptual metaphors in a frequency close to each other.   <strong> References</strong> Afrashi, A., Hesami, T., & Salas, B. (2012). A Comparative Survey of Orientational Conceptual Metaphors in Spanish and Persian. LRR, 3 (4), 1-23. Aminpour, Q. (1993). Mirrors suddenly. Tehran: Ofogh Publications. Aminpour, Q. (1999). The Complete Collection of Qaiser Aminpour's Poems. Tehran: Morvarid Publications. Bahmani, M. A. (2011). A Collection of Poems. 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Razi University. استعاره در طی قرون از دیدگاههای مختلف ادبی، زبانشناختی، زیباییشناختی و روان‌شناختی مورد مطالعه قرار گرفته و موضوع پژوهش‌های مختلفی بوده است. د‌ر‌ این راستا، در حوزه زبان-شناسی شناختی، نظریه استعاره مفهومی یکی از نظریه‌هایی است که لیکاف و جانسون با نگاهی تازه به استعاره در قالب انواع استعاره‌های جهتی، هستی‌شناختی و ساختاری مطرح کردند. هدف پژوهش حاضر توصیف و تحلیل چگونگی بازنمایی انواع استعاره‌های جهتی در غزلیات صائب تبریزی (جلد 1)، مطابق با تحلیل شناختی لیکاف و جانسون می‌باشد. این پژوهش به روش توصیفی-تحلیلی انجام شده است. نتایج پژوهش نشان می‌دهد شاعر در غزلیات خویش، از مفاهیم انتزاعی مربوط به احساسات و باورهای انسان، فراز و فرود روزگار و زندگی، مضامین عرفانی، پیشرفت و پسرفت آدمی و همۀ تجربیات روزمرۀ فرد، به عنوان حوزه‌های مقصد، سخن به ‌میان آورده است. بر این اساس، وی جهت عینیت‌بخشی و ملموس‌سازی چنین مفاهیمی از جهت‌های متنوعی همچون جهت پایین، بالا، چرخشی، دور، نزدیک، بیرون، درون، میانه، گوشه و کنار، روبه‌رو، پیرامون، و عقب، به عنوان حوزه‌های مبدأ، استفاده کرده است. نتایج همچنین نشان می-دهد بیشتر جهت‌ها را در غزلیات صائب تبریزی با بسامدهای متفاوت می‎توان مشاهده کرد و تفاوتی معنادار بین بسامد کاربرد انواع استعاره‌های مفهومی جهتی در این غزلیات وجود دارد. https://jsr.usb.ac.ir/article_8677_8acbbdb524a8916ff7a8f75a56562da8.pdf

دانشگاه سیستان و بلوچستان مطالعات شبه قاره 2008-5710 18 50 2026 03 21 Explaining the Cultural Identity of Jewelry in the Indian Subcontinent During the British Colonial Era Based on Homi Bhabha’s Third Space Theory تبیین ماهیت فرهنگی زیورآلات شبه قاره هند در عصر استعمار بریتانیا بر مبنای نظریۀ «فضای سوم» هومی بابا 45 62 9068 10.22111/jsr.2025.50841.2477 FA زهرا مهدی پور مقدم استادیار هنرهای اسلامی، گروه هنرهای صناعی، دانشکده میراث فرهنگی صنایع دستی و گردشگری، دانشگاه مازندران، ایران. (نویسنده مسئول) 0000-0002-6079-7475 بهزاد پورقریب دانشیار زبان و ادبیات انگلیسی، گروه مترجمی زبان انگلیسی، دانشکده میراث فرهنگی صنایع دستی و گردشگری، دانشگاه مازندران، ایران Journal Article 2025 01 18 Britain capitalized on the collapse of the Mughal Empire to bring the entire Indian subcontinent under its control as a colony.Throughout the 19th century,British culture and art significantly influenced Indian culture and art. British artistic styles,which influenced Indian art, particularly jewelry,with a history as old as its civilization, prompting jewelers to imitate the elements of colonial culture. Therefore, this research aims to study the cultural elements influencing the formation of jewelry based on Homi Bhabha’s Third Space theory.We will examine the identity of colonial-era jewelry from the second half of the 19th century,exploring how the influence of indigenous Indian styles alongside Western cultural elements created a Third Space in the jewelry of the subcontinent.The goal is to read the cultural identity of the influencing elements in the formation process and achieve a third space at the boundary between the colonizer and the colonized.The findings was carried out using a descriptive-analytical method, based on Homi Baba's theory and library information collection indicate that although colonialism attempted to erase the cultural identity of India and impose elements of its own culture,compelling artisans to imitate it and adopt a superior identity, the Indian artist has been able,unconsciously,to incorporate traditional elements into their works.   <strong> Introduction</strong> The Industrial Revolution in Europe led to the expansion of competition among European countries to reach the Eastern countries. Because, “one of the main consequences of the Industrial Revolution was the increase in production. European markets were quickly saturated with these products, so the owners of these industries, in order to find a market to sell their products and obtain raw materials, went to non-European countries” (Razavi Piranshahi, 2016: 29). In the meantime, the wealth of India called Europeans to itself (Schimmel, 2007: 11) and Britain; one of the most powerful colonial states in history, at the same time as the collapse of the Mughal Empire, seized the opportunity and, by prevailing over other competitors, was able to take control of the land of India. In such a way that, during the nineteenth century, the influence of British colonial culture completely affected Indian art and industries (Barnard, 2008: 72); The styles and methods that are considered to be a reflection of British cultural influences have had a significant impact on art, especially traditional Indian jewelry. Although Britain took fundamental steps “to change Indian society, culture, and [art]” (B. Chandra 1971: 114), it should be noted that since the second half of the nineteenth century, the effects of indigenous Indian styles have also been manifested in art, especially its jewelry (Barnard, 2008: 102). Therefore, this study will examine the nature of nineteenth-century jewelry based on the “third space” approach of Homi Bhabha (1949). The aim was to read the cultural identity of the influential components in the process of formation and formulation of jewelry and to achieve the third space with regard to the relationship between the colonizer and the colonized in the works. It also answers the question of how the influence of indigenous Indian styles, alongside elements of Western culture, has led to the creation of a third space in the subcontinent's jewelry.   <strong>2- Research Methodology</strong> The present study, which was conducted using a descriptive-analytical method, based on Homi Bhabha's "Horse" or "Third Space" theory and library data collection, has identified the identity of the jewelry of the Indian subcontinent during the British colonial era. In this regard, the abundance of samples included 15 types of jewelry with modern designs, which were selected and analyzed based on purposeful sampling strategies due to the role and position of gold metal among Indians in the past, as well as having a different form than other cases, in order to investigate how the third space was created in shaping the identity of the jewelry of the subcontinent during the colonial era. <strong> </strong> <strong>3- Discussion</strong> With the arrival of Britain in India, the identity of indigenous and traditional Indian arts underwent changes. Because colonialism was “a powerful cultural front throughout the world that transformed the identity and culture of the colonized peoples in various forms” (Darabi, 2015: 140). This caused jewelers, like other artists in the colonial era, to be influenced by the Europeans (Barnard, 2008: 72). And therefore, jewelry, which was once considered a rich treasure in traditional Indian culture with its motifs and meanings, not only for its beauty, but also for its rich heritage, has now, in the colonial era, based on the components of British jewelry, become an ornamental element in accordance with the wishes and tastes of the colonial statesmen. Of course, it is worth noting that according to Homi Baba’s view, colonial identity and power cannot be fundamental and authentic, but rather, he believes in establishing a balance between the colonizer and the colonized in the third space. In fact, “each of the two sides, upon seeing the other, feels a difference, [brings] itself closer to the other to leave behind the traditional and old boundaries that exist between itself and the other” (Shirzadi, 2009: 169). In other words, a kind of imitation of the colonized by the colonizer that leads to mutual influence and influence; and ultimately this causes the destruction of the purity of the identity of both sides. With these interpretations, we can point out the components in the ornaments of the Indian subcontinent during the colonial era in which the cultures of the colonizer and the colonized were inclined towards each other and cultural interactions between the two cultures were formed<strong>.</strong> <strong> </strong> <strong>4- Conclusion</strong> It is worth mentioning that Britain, by dominating India and instilling European culture in this land, tried to destroy the culture and identity of the people of India in order to encourage them to imitate itself as a superior and absolute identity. However, despite all these cases, and the British domination of the subcontinent, which considered this land as a source of raw materials for industries and a market for its products; it can be said that Indian jewelers, with their intelligence, were able to overcome the monologue and absolute domination of the colonialists and create works in which the indigenous and traditional components of India, such as the dark color of emeralds and rubies, the peacock motif, and other things, were also manifested. And in this way, they created a balance and equilibrium between Britain as the dominant culture and India; the defeated culture. That is, the artist unconsciously managed to include the elements and style of his traditional ornaments in the creation of the works, despite the colonial domination, and indirectly questioned the purity of the colonialist's identity. Therefore, this has caused, in addition to the attention and tendency of the colonized to the colonizer; by imitating it, the colonizer's gaze is also drawn towards the colonized. Therefore, it can be said that the third space in the ornaments of the colonial era of India, in the first step, began with the imitation of Western elements by Indian ornament makers and finally, by referring to the traditional identity of India as well as their style of making, they created changes in the formation of ornaments. That is, according to Homi Baba, in a middle space called the third space, they were moving towards each other and from their movement towards each other, ornaments were formed that were neither what the colonizer presented in its entirety nor similar to the elements that the colonized unconsciously used in the formation of the work<strong>.</strong> <strong> </strong> <strong> References</strong> Ahsan Bilal, Muhammad , Nasir Khan, Sonia (2021), Mughal men’s head ornaments with an emphasize on Turban ornaments and their connection with European Aigrette, Perennial journal of history (PJH), 11(1): 1- 15. Ali Sayed, Nafisa (2015), Mughal jewellery; A sneak peek of jewellery under Mughals, India: partridge. Bala Krishnan, Usha Ramamrutham (2001), Jewels of the Nizams, New Delhi: department of culture, government of India. Bala Krishnan, Usha Ramamrutham, Kumar, Meera Sushil (2001), Indian jewellery, Dance of the peacock, India: India book house limited. Barnard, Nick (2008), Indian jewellery; The V&A collection, New Delhi: Timeless books. Bhabha, Homi K (1994), The  location of culture, London and New York: Routledge. Bhandari, Nagendra Bahadur (2022), Homi k. Bhabha's third space theory and cultural identity today: a critical review, center for research & innovation Prithvi academic journal, Tribhuvan university, Nepal, (5): 171- 181. Bhushan, Jamila Brij (1964), Indian jewellery, ornaments and decorative design, D. B. taraporevala sons. Byrne, Eleanor (2009), Homi K. Bhabha, Hamshire and NewYork: Palgrave. Carvalho, Pedro Moura (2010), Gems and jewels of Mughal India, London: The nour foundation. Chandra, Bipan (1971), Modern India, New Delhi: National council of educational research and training. Chandra, Rai Govind (1979), Indo- Greek jewellery, Abhinar publications: New Delhi. https://paperhub.ir/ (1400/ 10/ 25). Dadvar, A., Mansori, E, (2011), An introduction to the ancient Persian and Indian mythology and symbols, Tehran: Kalhor and Alzahra university. [in Persian] Darabi, H. (2014). Approaches and models in art criticism: a survey in educational meta- criticism, Ph.D dissertation, Faculty of applied arts, University of art, Tehran. [in Persian] Delzendeh, S. (2017).Visual Transformations of Iranian Art: A Critical Examination, Tehran: Nazarpub. [in Persian] Ebrahimi, M. (2022). Av Analysis the Role of British Colonialism in India and the Separation of Baluchistan, Journal of subcontinent researches, 14(43): 25- 40. [in Persian] Farahmandfar, M. (2014). The liminal space of culture: Homi Bhabha and Postcolonial theory, Critical literary studies, (1): 17- 34. [in Persian] Haidar Nattaj, V., Maghsoudy, M. (2019). Impression of Plant Motifs Common Contents of Iran’s Pre-Islamic Architecture on Islamic Architecture Schemes (Respect to Umayyad and abbasid periods), Bagh- E Nazar, 16(71): 35- 50. 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Peers, Douglas M (2013), India under colonial rule 1700- 1885, London and New Delhi: Routledge. Pourmokhtar, S. (2021). Analysis of Third Space Possibility in Iranian Contemporary Painting Based on the Homi K. Bhabha `s Post-Colonial Thoughts, Negareh Journal, 15(56): 109- 119. [in Persian] Razavi, S. H. (2009). An Examination of the Background to British Entry into the Indian Subcontinent, Sokhanetarikh, (6): 32- 48. [in Persian] Razavi P, S. A. (2016). The Colonial Consequences of Europeans in the Orient and Iran, History of Islamic Iran, 4(2):27- 48. [in Persian] Schimmel, A. (2007). Im Reich der Großmoguln(German), translated by Samiee, Tehran: Amir Kabir. [in Persian] Shirzadi, R (2009). Postcolonial Studies: A Critique and Evaluation of the Perspectives of Frantz Fanon, Edward Said, and Homi Bhabha, Political studies, 2(5): 149- 174. 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[in Persian] URL1:https://www.rct.uk/collection/search#/25/collection/11493/brooch (1400/ 11/ 30). URL2: https://www.rct.uk/collection/11497/brooch (1400/ 11/ 30). URL3:https://www.christies.com/lot/an-enamel-and-gold-hunting-case-minute-6211743/?intObjectID=6211743&lid=1 بریتانیابا بهره‌گیری از فروپاشی امپراتوری مغول توانست هندوستان را به عنوان مستعمره تحت سلطۀ خود درآوَرَد.در طول قرن نوزدهم، فرهنگ و هنر هند را به طور کامل تحت‌الشعاع خود قرار داده؛ شیوه‌های هنری بریتانیا بر هنر به‌ویژه زیورآلات هند نیز تأثیر‌گذار بوده و زیورسازان را به تقلید از مؤلفه‌های فرهنگ استعمار فراخواند.لذا، در این پژوهش برآنیم با مطالعۀ مؤلفه‌های فرهنگی اثرگذار در شکل‌گیری زیورآلات، بر مبنای رویکرد «فضای سوم» هومی بابا، به بررسی ماهیت زیورآلات عصر استعمار از نیمۀ دوم قرن نوزدهم بپردازیم که، تأثیرگذاری سبک‌های بومی در کنار عناصر فرهنگ غربی، چگونه توانسته منجر به ایجاد فضای سوم در زیورآلات هند شود؟ هدف، خوانش هویت فرهنگی مؤلفه‌های اثرگذار در شکل‌گیری و دستیابی به فضای سوم در مرز میان استعمارگر و استعمارشونده بوده است. یافته‌ها که به ‌‌روش ‌توصیفی- تحلیلی و گردآوری ‌اطلاعات ‌کتابخانه‌‌ای انجام گرفته‌اند بیان می‌کنند، اگرچه استعمار با حذف هویت فرهنگی هند و القای مؤلفه‌های فرهنگِ خود، زیورسازان را به تقلید از خود واداشته؛ ولیکن، هنرمند هندی توانسته ناخودآگاه، مؤلفه‌های سنتی را نیز در ساخت آثار دخیل سازد. لذا هویت فرهنگی دو طرف، با ورود به قلمرو یکدیگر، توانسته‌اند تعاملی در صورت زیورآلات ایجاد کنند که نه شباهت به هویت بومی هند داشته و نه فرهنگ استعمارگر. https://jsr.usb.ac.ir/article_9068_3a0db2950ea18e6816baabb9c4151e51.pdf

دانشگاه سیستان و بلوچستان مطالعات شبه قاره 2008-5710 18 50 2026 03 21 Reading Telmizeh Sari al-Saqati's Painting in the Illustrated Manuscript of Nafahat al Ouns Jami (British Library) with a Visual Semiotic Approach خوانش مجلس 'تلمیذه سریّ سقطی' در نسخه مصور گورکانیِ نفحات‌الانس جامی (کتابخانه بریتانیا) با رویکرد نشانه‌شناسی تصویری 63 84 9094 10.22111/jsr.2025.51379.2489 FA ناهید جعفری دهکردی استادیار گروه صنایع دستی، دانشکده هنر و علوم انسانی، دانشگاه شهرکرد، شهرکرد، ایران.(نویسنده مسئول) مرجان دهقانی پور مطلق دانش آموخته کارشناسی ارشد نسخه شناسی، دانشگاه شهید بهشتی، ایران شهریار شادیگو استادیار گروه اموزش زبان و ادبیات فارسی دانشگاه فرهنگیان، تهران، ایران Journal Article 2025 03 09 This research analyzes one of the illustrations of the Indian version of Jami's Nafhat-ul-Ans, compiled in the court of Akbar Shah and now preserved in the British Library under the accession number Qr_1362. This assembly is related to the story of a Sufi woman named "Talmizeh". The aim of this research is to analyze the semantic and visual layers of this assembly and to discover the relationship between its visual elements and the concepts of the literary text. The question is posed as follows: "How is the narrative structure of Jami's text represented in the illustration?" This fundamental research was conducted with a descriptive-analytical approach and visual semiotics. The findings show through documentary studies; in this illustration, the composition, colors and Sufi symbols such as the rosary and the flow of water harmoniously reflect the teachings of Islamic mysticism. This image is not only a visual representation of Jami's narrative, but also symbolizes concepts such as patience, contentment and certainty. Using composition, color, and symbolism, the illustrator of Gorkani has represented the concepts of submission and trust in God, establishing a deep connection between text and image.   <strong> Introduction</strong> The Mughal manuscripts, especially during the reigns of Humayun and Akbar, are considered the pinnacle of Islamic pictorial art. This period witnessed the fusion of Iranian, Indian, and Islamic artistic traditions, which, with influences from European and Chinese painting, formed a unique style. Akbar Shah established an artistic circle in Fatehpur, where numerous manuscripts were copied and illustrated. By the time of his death in 1605, his royal library had about 24,000 illustrated manuscripts. The Mughal manuscript of Of Nafahat al Ouns, numbered Qr_1362, is an outstanding example of the book layout of this period, which was printed in the 49th year of Akbar Shah’s reign. This manuscript has 804 leaves and 17 illustrated panels, and some of the illustrations are decorated with the illustrator’s signature. The text is written in legible Nastaliq script in black ink, and each leaf contains 21 lines in a column. Golden, black and azure tabulations are considered to be features of its book layout. Majlis Telmizeh Sari Saqati, with precise illustrations, examines the relationship between text and image from the perspective of visual semiotics and facilitates the understanding of the narrative. <strong>2. Detailed Research Methodology</strong> The type of this research is descriptive-analytical in terms of its fundamental purpose and nature. The information was collected in the form of documents. The authors are trying to use a visual semiotics approach from among the statistical population consisting of 17 images related to Sufis in the illustrated edition of Nafhat-ul-Ans Jami of the British Library, and have purposefully selected 1 image with the topic of "Telmizeh Sari Saqati" in order to study it qualitatively based on the mystical concepts of the literary text. "A sign is something that signifies something other than itself. Signs can appear in the form of words, images, sounds, gestures, and objects. Signs may appear in the form of words, images, sounds, gestures, or objects. Semiotics is the study of the types of signs, the factors associated with the process of their production, exchange, and interpretation, and the rules that govern them” (Chandler, 2018, 21). This science is used as a tool for analyzing culture, examining mental structures and semantic change in language, and the relationships between signs and symbols. In the field of semiotics, the main subject is the study of the rules governing verbal and nonverbal signs (Dancey, 2008, 57). The analytical components in this painting include semantic and narrative, visual, historical, and cultural signs.   <strong>3. Discussion</strong> The Sufi woman in this painting, with characteristics such as firm faith, patience, intuitive knowledge, dignity, and observance of mystical duties, is a model of a seeker of the path of truth. The mountainous atmosphere and surrounding nature, with their earthy and green colors, represent mystical isolation and spiritual path. The rocks and mountains reflect the difficulties of the spiritual path and emphasize the challenges of the mystical path. Sheikh Sari Saqati, as a master, maintains his spiritual position without direct intervention in a contemplative manner and plays the role of a guide and observer. His simple attire, turban, and long robe indicate his asceticism and mystical position. In one hand, he holds a rosary, which symbolizes remembrance and connection to divine truth, and his other hand is placed under his chin, a sign of contemplation and contemplation of glorious events. The female disciple, who is trying to save her child from the water, is considered an embodiment of faith and certainty in divine providence. Her movement indicates the connection between submission, satisfaction, and divine providence. Her simple clothing and earthy and white colors symbolize asceticism, purity, and connection to mystical path. The observance of full coverage, in addition to conforming to Islamic custom, emphasizes her submission and mystical piety. The mother represents absolute love and faith, and pulling the child out of the water refers to the relationship between man and God, where certainty and trust are the factors of salvation from life's trials. The river, with its constant flow, in addition to symbolizing life's events, represents purification and renewal. The child being pulled out of the water is a reflection of salvation and salvation in the light of faith. The mill in the background, in addition to its practical application, symbolizes the tests of patience and certainty on the mystical path. With its balanced composition, natural colors, and precise symbolism, this image represents concepts such as faith, patience, certainty, and the position of the mystical hierarchy. The distance between the master and the student in the image is an embodiment of the relationship between the disciple and the desired, where the disciple needs the guidance of the desired on the path to perfection. Although there is no direct dialogue between the woman and the master, the postures and movements reveal the transfer of meaning and the spiritual bond between them.   <strong>4. Results</strong> The painting, with its three-layered structure, elevates the story from the natural level to mystical concepts. In this structure, water symbolizes life and divine grace, which at the same time indicates the movement of nature, economy, and spiritual rebirth. The Sufi woman connects the different parts of this multi-level system and redefines a new position for women in Islamic mysticism. In contrast, the dervishes, especially Sheikh Sari Saqti, play a role as interpreters of the sacred on another level. From a semiotic perspective, this painting clearly shows how an image can become a powerful expressive tool for decoding mystical, social, and ontological concepts; and how, within a calm appearance and simple narrative, a complex system of meaning, interpretation, and code lies. <strong>5. References</strong> Alami, A. (1872). Aein Akbari. Calcutta: Asiatic Society of Bengal. Alaei, S. (2018). A Review of the Treasure of Persian Books in the British Library. Iran Nameh, 3(2): 135-159. Ariya, G.A. (2003). The Chishtiyyah Way in India and Pakistan, Tehran: Zavar. Azimi, H. (2017). Manuscripts: Centers of Reproduction, Elements of Manuscriptology, Cataloging Procedures, Recognition of Forgery and Authenticity of Manuscripts, Mashad: Islamic Research Foundation of Astan Quds Razavi. Bakharzi, A. (1966). The lovers and the eloquent ones, Vol. 2, edited by Iraj Afshar, Tehran: Tehran University Press. Bayani, M. (1967). The Lives and Works of the Nastaliq Calligraphers, Part Two, Tehran: Tehran University Press. Chandler, D. (2018). Fundamentals of Semiotics, translated by Mehdi Parsa, Tehran: Islamic Culture and Art Research Institute, Sooreh Mehr Publishing Company. Chevalier, J. & Gheerbrant, A. (2005). Dictionnaire des symboles: Mythes, rêves, coutumes, gestes, formes, figures, couleurs, nombres, Translated by Sudabeh Fazaili, Vol. 1, Tehran: Jeyhoon. Chevalier, J. & Gheerbrant, A. (2006). Dictionnaire des symboles: Mythes, rêves, coutumes, gestes, formes, figures, couleurs, nombres, Translated by Sudabeh Fazaili, Vol. 4, Tehran: Jeyhoon. Craven, R.C. (1989). Indian art: a concise history, translated by Farzan Sojoodi & Kaveh Sojoodi, Tehran: Art Univresity. Dancy, M. (2008). Semiotics of Media, translated by Goodarz Mirani and Behzad Doran, Tehran: Chapar. Dehkhoda, A. A. (2008). Dehkhoda Dictionary, Vol. 9, Tehran: Dehkhoda Dictionary and Tehran University Publishing and Printing Institute. Eliade, M. (1993). Patterns in Comparative Religion, translated by Jalal Sattari, Tehran: Soroush. Elmi, Q.; Baghestani, M. & Fathi, M. (2015). Mystical Path and Behavior in the Thought of Sheikh Ahmad Sarhindi, Subcontinental Studies, 7(25): 45-68. Freud, Z. (1969). Moses and Monotheism, translated by Qasim Khatami, Tehran: Pirouz. Hall, J. (2001). Illustrated dictionary of symbols in Eastern and Western art, translated by Roghieh Behzadi, Tehran: Farhang Moaser. Jafari Dehkordi, N. & Naderi Garzaldini, M. (1401). Pictorial Semiotics of the Persian Prince in the Indian Paintings of the "Darab Nameh" British Library Edition, Peykreh, 11(29): 46-58. Jami, M. (1957). The Breaths of Humanity from the Holy Ones, edited, introduced and appended by Mehdi Tohidipour, Tehran: Mahmoudi Bookstore. Jami, N. (2010). Jami's Ghazaliyat, edited by Badr al-Din Yaghmaei, Tehran: Shargh Publications. Kaka'i, Q. (1982). The Unity of Being as narrated by Ibn 'Arabi and Meister Eckhart, Tehran: Hermes Book Publishing Company. Kashfi Sabzevari, M. (1972). The Soltani Futotnameh, edited by Mohammad Ja'far Mahjoob, Tehran: Iran Foundation Publications. Khosrow Panah, A. (2006). An Analysis of Sufism with Emphasis on the Golden Sect, Critical, Intellectual and Cultural Quarterly, 39: 129-136. Khwarizmi, K. (2005). Jawaher al-Asrar and Zawahir al-Anwar, edited by Mohammad Javad Shariat, Tehran: Publication: Asatir. Mahdavi, S. (2015). Analysis and Study of Visual Signs and Structure of the Plinth Tiles of Imam Reza (AS) Shrine Using the Peirce Semiotic Method, Astan Honar, 14 & 15: 54-64. Mayel Heravi, N. (1993). Book Design in Islamic Civilization, Mashhad: Astan Quds Razavi Printing and Publishing Institute. Mayel Heravi, N. (1999). History of Manuscript Compilation and Critical Correction of Manuscripts, Tehran: Library, Museum and Documentation Center of the Islamic Consultative Assembly. Nazarli, M. (2011). The Dual World of Iranian Miniatures, translated by Abbas Ali Ezati, Tehran: Matn. Qoshiri, A. (1992). The Qoshiriyya Treatise, translated by Abu Ali Hassan ibn Osmani, with corrections and additions by Badi' al-Zaman Foruzanfar, Tehran: Elmi va Farhangi Publications. Rabizadeh, S. & Jafari Dehkordi, N. (2000). Visual Semiotics of Three Illustrations of the Battle of Rostam with Sohrab in the Shahnameh of Tahmasbi. <strong>Graphic Arts and painting Research</strong>, 3(5): 77-90. Randhawa, M. S. (1930). Kangra Valley Painting. Delhi: Ministtry of Informatino & Broadcasting. Rogers, M. J. (2003). The Age of Painting, the Indian Mughal Style, translated by Jamileh Hashemzadeh, Tehran: Dolatmand. Sadri, M. (2013). Mystical Paintings: A Comparative Study of Mystical Meanings and Painting, Tehran: Tehran: Elmi va Farhangi Publications. Safa, Z. (1985), History of Literature in Iran, Vol. 4, Tehran: Ferdowsi Publications. Sajadi, S. A. M. (2005). The Robe and Robe-wearing of the Ascetic, Tehran: Elmi va Farhangi Publications. Schimmel, A. (2018). Deciphering the Signs of God: A Phenomenological Approach to Islam, Translated by Abdolrahim Gawahi, Tehran: Islamic Culture Publishing House. Shairi, H. R. (2012). Visual Semantics_Sign, Tehran: Sokhan Publishing House. Shirazi, M.M. (1985). Paths of Truth, Vol. 2, Edited by Mohammad Jafar Mahboob, Tehran: Sanaei Library. Tarsousi, A. (1977). Darabnameh Tarsousi, Vol. 1, Tehran: Book Translation and Publishing Company URL1:https://www.bl.uk/manuscripts/Viewer.aspx?ref=or_1362 (Access date: 11/06/2022). Cite this article: Jafari Dehkordi, N., Dehghanipour Motlagh, M., Shadigo, Sh. (2025). Reading Telmizeh Sari al-Saqati's Painting in the Illustrated Manuscript of Nafahat al Ouns Jami (British Library) with a Visual Semiotic Approach,<em> Journal of Subcontinent Researches</em>, 17(48), 161-180.                                                 DOI: 10.22111/jsr.2025.51379.2489   این جستار به تحلیل یکی از نگاره‌های نسخه‌ هندی نفحات‌الانس جامی می‌پردازد که در دربار اکبرشاه تدوین شده است و اکنون با شماره دسترسیQr_1362 در کتابخانه بریتانیا نگهداری می‌شود. مجلس نگارگری "سری سقطی در حال تماشای مادری که فرزندش را از رودخانه بیرون می‌کشد"؛ به داستان شاگرد زن او، "تلمیذه"، مربوط است. هدف از این پژوهش، واکاوی لایه‌های معنایی و بصری این مجلس و کشف ارتباط میان عناصر تصویری آن و مفاهیم متن ادبی است. پرسش اصلی تحقیق چنین مطرح می‌شود" چگونه ساختار روایی متن جامی در نگاره بازنمایی شده است؟" این پژوهش بنیادی با رویکرد توصیفی-تحلیلی و نشانه‌شناسی تصویری انجام گرفته است. تحلیل نشانه‌شناختی این مجلس نشان می‌دهد که این تصویرسازی نگاره صرفاً تزیینی نیست، بلکه ابزاری برای تعمیق مفاهیم عرفانی است. در این نگاره، ترکیب‌بندی، رنگ‌ها و نمادهای صوفیانه همچون تسبیح و جریان آب، به‌شکلی هماهنگ آموزه‌های عرفان اسلامی را بازتاب می‌دهند. تحلیل نشانه‌شناختی این مجلس نشان می‌دهد که این تصویرسازی نگاره صرفاً تزیینی نیست، بلکه ابزاری برای تعمیق مفاهیم عرفانی است. https://jsr.usb.ac.ir/article_9094_1393c8370606eb1751d76693a4218c10.pdf

دانشگاه سیستان و بلوچستان مطالعات شبه قاره 2008-5710 18 50 2026 03 21 The intermediaries who brought the works and views of Mīr Dāmād to India واسطه‌های انتقال آثار و آراء میرداماد به هندوستان 85 108 8954 10.22111/jsr.2025.47463.2402 FA داود حسینی دانشیار گروه فلسفۀ دانشگاه تربیت مدرّس، تهران، ایران(نویسنده مسئول) حسین نجفی دانش‌آموختۀ دکتری فلسفه و کلام اسلامی، دانشگاه تربیت مدرّس، تهران، ایران. حامد ناجی اصفهانی دانشیار گروه فلسفۀ دانشگاه اصفهان، اصفهان، ایران. Journal Article 2023 12 14 The philosophical thought of MīrDāmād (d. 1040 AH) is considered as one of the milestones of the presence of Persian philosophers in India. Indian scholars interacted with the scientific personality of MīrDāmād in three general phases: the transferring phase, the spreading phase, and the establishing phase. The transferring phase commenced from the first half of the 11th Century AH, when Indian scholars became acquainted with MīrDāmād. In this paper, with a special focus on this era, we will trace back the historical origins and writings of MīrDāmād in India. We will explain how the philosophical thought of MīrDāmād during his life, and through his works like Jadhawāt, he connected with scientific and political personalities of India, and how it got there. Some of MīrDāmād’s students and family members moved to India. They taught rational and transmitted sciences, and had various political and judicial positions. These personalities were present in various geographic locations in the Indian subcontinent and had a noticeable influence at that time, spreading the works and views of MīrDāmād. The transferring era is strongly linked to the political ties the Safavid rulers had with their eastern neighbours, and the civil relations with the Mughal and Qutb Shahi Dynasties. <strong> Introduction</strong> According to historical documents, the intellectual heritage of Iranian philosophers reached regions such as South Asia (India), North Asia (Russia) and the Ottoman Empire during cultural exchanges and attracted the attention of scholars in these regions. The thinking of Iranian philosophers was developed by thinkers in these regions and, in conjunction with their theories, led to the presentation of new teachings and interpretations. However, in the historiography of Islamic philosophy, there is no mention of the extension and influence of the thought of Iranian philosophers in other parts of the Islamic world, except for some general references. This deficiency has cast a shadow over the study of the influence of Islamic philosophy on Indian scientific circles more than any other area; Because the historical and geographical scope of the encounter of the scholars of this land with Islamic philosophy is very wide and the number and volume of their works in this field is unparalleled. The following article is written in order to correct this deficiency in the historiography of Islamic philosophy and, in particular, to examine the familiarity of the scientific circles of the subcontinent with the ideas of Mir Damad (died 1040 AH). The main issue in the following article is the identification of the intermediaries through which Mir Damad’s works and ideas were transmitted to India. This issue becomes important when we consider that after Jalal al-Din Davani (died 908 AH), Mir Damad is the second – and probably the only – famous Iranian philosopher whose ideas and works found their way into the scientific circles of the subcontinent during his lifetime. <strong>1.1. Research Methodology</strong> The history of Indian scholars’ encounter with Mir Damad’s writings and ideas has gone through three general periods: the “transition period” that covers the first half of the 11th century AH and part of Mir Damad’s lifetime; the “dissemination period” that covers the second half of the 11th century to the end of the 12th century AH; and the “consolidation period” that covers the beginning of the 13th century to the middle of the 14th century AH. In the following article, focusing on the first period, which is considered the precursor to Indian scholars’ acquaintance with Mir Damad, we have introduced the intermediaries through which Mir Damad’s works and ideas were transmitted to India, while following some historical and textual clues and collecting data using a library method. First, we have addressed the historical and geographical context of this transfer, and then we have classified and examined the aforementioned intermediaries in three separate sections.   <strong> Discussion</strong>  A review of historical reports, their classification, and reference to some manuscripts show that Mir Damad’s writings and ideas reached India through three main channels: Direct and indirect correspondence with scientific and political figures in Mughal India and the Deccan region. Mir Damad wrote the book Juzvat va Muwaqit in response to an enigmatic letter from Indian scholars. His messenger was Mirza Barkhordar Khan Alam (d. 1029 AH), the ambassador of Jahangir Shah of Gurkani (r. 1014-1037 AH), and this letter was sent by the Gurkani family to the Safavid court as part of an official letter seeking a response or assessing the capabilities of Iranian scholars. According to Mirdamad’s report in the introduction to the Juzvat, some “famous Indian scholars” have raised the issue of “the wisdom of the non-combustion of the body of Moses (AS)” in the form of difficult phrases; however, the scholars of the time were unable to solve the problem and interpret their phrases. For this reason, Shah Abbas Safavi, through Mulla Muzaffar Munjjam Gonabadi (died 1038 AH), commissioned Mirdamad to solve this issue (Mirdamad, 1380: 5-6). After writing his detailed response between 1026 and 1027 AH, Mirdamad sent it to India. Accordingly, the book Juzvat and the Times is considered the first encounter of Indian scholars with Mirdamad’s philosophy. Mir Damad sent a copy of his four medical compositions as a gift to the court of Sultan Muhammad Qutb Shah (r. 1020-1035 AH). Historical reports indicate that Mir Damad corresponded directly with the Qutb Shahi court and respected the king of this dynasty. He also wrote the treatise al-Tashififat in the name of Mir Muhammad Mumin Astarabadi (d. 1038 AH) and sent it to him as an attachment to a letter. In addition, in a letter addressed to the famous Gurkani minister and deputy, Mirza Abul-Hasan Asif Khan (d. 1051 AH), Mirdamad introduced one of his students, Muhammad Saleh Karami, and requested his respect and comfort (Mirdamad, 1381, vol. 1: 593-596). The recipients of Mirdamad’s letters were all high-ranking and influential figures in the Indian civil service. The presence of Mirdamad’s Indian and Iranian students in South Asia and their presence in the Gurkani and Qutb Shahi territories. According to historical reports, many students from Iran and India attended Mirdamad’s lectures. Some of them, after studying under the master, went to India and, in addition to teaching intellectual and traditional sciences, were established in various political and judicial positions - such as medicine, judgment, deputyship, and ministry. These scholars, who made a significant contribution to the dissemination of Mir Damad's works and ideas in the subcontinent, include: Muhammad Saeed Karahrudi (died 1045 AH); Muhammad bin Ali Amili, known as "Ibn Khatun" (died 1068 AH); Nizam al-Din Ahmad Gilani, known as "Hakim al-Mulk" (died 1066 AH); Muhammad Sharif Kashmiri; Mulla Muhammad Baqir al-Sabbagh; Muhammad Qasim Gilani (died 1025 AH); Jibra'il Tabrizi (died 1025 AH); Abhi Chand Lahori. Residence of some of Mir Damad's close relatives in India. According to the chroniclers, Mir Damad's elder brother, Imad al-Din Hasan Astarabadi, who was nicknamed "Yamani", resided in India for a long time. Before the conquest of Gujarat in 992 AH, he was in the service of Abdur Rahim Khan Khanan and resided in Delhi (Nahavandi, 1924, vol. 3: 1430-1435).   <strong> Conclusion</strong> The transmission of Mir Damad’s works and ideas to India was linked to various aspects of politics: his connection with the Gurkani and Qutb Shahi courts was shaped by the Safavid government’s relations with its eastern neighbors; the recipients of his letters, relatives, and most of his students were high-ranking figures in Mughal India and the Deccan region. Moreover, the frequency of these intermediaries across the subcontinent follows a similar pattern. All of the intermediaries were linked to the Gurkani and Qutb Shahi capitals, namely Delhi and Hyderabad. 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The Philosopher of Shiraz in India, Tehran: International Center for Dialogue of Civilizations; Hermes. Taleghani, T. D. M. B. A. (17^th Century). The Measure of Natures of Qutbshahi, MS No. 20S, The Library of Islamic Consultative Assembly, Tehran.   اندیشۀ فلسفیِ میرداماد (در‌گذشتۀ 1040 ھ‌‌.‌ق)، یکی از نقاط عطف در تاریخ حضور آثار و آراء فیلسوفان ایرانی در هندوستان به شمار می‌رود. مواجهۀ دانشمندان هندی با شخصیّت علمیِ او، سه دورۀ کلّی را سپری کرده است: دورۀ انتقال، دورۀ انتشار و دورۀ تثبیت. دورۀ انتقال که نیمۀ نخست قرن یازدهم هجری‌قمری را در بر می‌گیرد، طلیعۀ آشناییِ دانشمندان هندی با میرداماد به شمار می‌رود. در مقالۀ حاضر، با تمرکز بر این دوره و تعقیب سرنخ‌های تاریخی و متنی، نشان‌ داده‌ایم که چگونه اندیشۀ فلسفیِ میرداماد در عصر حیات او به‌واسطۀ نگارش کتاب جذوات و مواقیت و ارتباط با شخصیّت‌های علمی و سیاسیِ هندوستان، به آن سرزمین راه یافته است. افزون بر این، تعدادی از شاگردان میرداماد و بستگان او در هندوستان اقامت داشته و علاوه بر تدریس علوم عقلی و نقلی، مناصب گوناگونِ سیاسی و قضایی را عهده‌دار بوده‌اند. این چهره‌ها که در سراسر جغرافیای شبه‌قارّه – اعمّ از قلمرو گورکانی و قطب‌شاهی – حضور داشته‌اند، سهمی چشمگیر در پراکنش آثار و آراء میرداماد در هندوستان دارند. «دورۀ انتقال» با روابط سیاسیِ امپراطوریِ صفوی با همسایگان شرقیِ خود و نیز مناسبات دیوانیِ دو حکومت گورکانی و قطب‌شاهی، پیوندی تنگاتنگ دارد. https://jsr.usb.ac.ir/article_8954_02de68a69d02057c678cf9b1f855899b.pdf

دانشگاه سیستان و بلوچستان مطالعات شبه قاره 2008-5710 18 50 2026 03 21 An Analysis of the Types of Īhām in the Divan of Malek-e Qomi «بررسی انواع ایهام در دیوان مَلِک قمی» 109 126 9266 10.22111/jsr.2025.51730.2501 FA محدثه دلارام نژاد دانشجوی دکتری زبان و ادبیات فارسی دانشگاه سیستان وبلوچستان، زاهدان، ایران. محمدامیر مشهدی استاد گروه زبان و ادبیات‌‌فارسی دانشگاه سیستان ‌وبلوچستان، زاهدان، ایران. عبدالعلی اویسی کهخا دانشیار گروه زبان و ادبیات فارسی دانشگاه سیستان و بلوچستان، زاهدان، ایران. Journal Article 2025 04 19 Malek Qomi is a Persian-speaking poet of the late 10th and early 11th centuries AH and is considered one of the literary figures of India. Despite benefiting from linguistic and rhetorical features, his collection of ghazals has so far rarely been analyzed from the perspective of rhetorical devices. The aim of this study is to identify different types of īhām (a classical Persian rhetorical device involving semantic ambiguity or double meaning) and analyze their structural and semantic functions in Malek-e Qomi’s ghazals. This research was conducted using a descriptive-analytical method. After a full reading of the ghazals and extraction of examples of īhām, the data were categorized and analyzed based on the types of Īhām. The results show that īhām-e-tanāsob has the highest frequency among the various types of Īhām, followed by īhām-e tazad (Contrastive īhām), īhām-e Do-Gāne-Xāni (Dual Reading), īhām-e tarjomeh (Translational īhām), and īhām-e tabādor (Simultaneous Evocation). The findings indicate that although Malek-e Qomi did not innovate new types of Īhām, he skillfully and diversely used it as a means to enrich meaning, create artistic ambiguity, and establish cohesive links between parts of the poem. <strong> Introduction</strong> multiple meanings. Since ancient times, Persian poetry and literature have regarded Īhām as one of the most significant expressive capacities of the language. “The poems of poets are distinguished by their styles of expression, rhetorical techniques, and unique uses of language” (Ahmadi, 1991: 58). Consequently, poets have not ignored the role of Īhām in their poetry. Malek-e Qomi, too, has not overlooked this element, and a glance at his Divan reveals many examples of Īhām, indicating his subtle insight and vast imaginative capability. Malek-e Qomi is considered a lesser-known poet in Persian literature, and no comprehensive study has yet been conducted on his poetry. This study aims to answer the following questions: Which types of <em>īhām</em> are most frequently used in Malek-e Qomi's ghazals? Has Malek-e Qomi introduced any innovations in the types of <em>īhām</em>? What role does <em>īhām</em> play in reinforcing meaning, conceptual cohesion, and linguistic creativity in his poetry? <strong>1.1 Research Methodology</strong> This research was conducted using a descriptive-analytical method. In the first step, the poet’s entire Divan was studied carefully to identify verses containing Īhām. After extracting the relevant lines, the samples were categorized and analyzed based on their types.   <strong> Discussion</strong> Among the various types of Īhām, only six with more significant frequency and presence in Malek-e Qomi’s Divan were selected for brief examination in this study. <strong>Īhām (Tawriya)</strong>: Malek-e Qomi does not offer structural or semantic innovations beyond established literary norms. He mainly employs this type of <em>īhām</em> to expand semantic range and enable wordplay. <strong>Īhām-e Tanasob (Associative īhām)</strong>: This type of <em>īhām</em> connects closely with <em>morāʿāt al-naẓir</em> (semantic harmony), but is more imaginative and delicate in its effect. Malek-e Qomi uses it to strengthen the vertical cohesion of his poems. By placing words with implied associations together, he opens new semantic horizons. These <em>īhāms</em> are commonly found in themes related to nature, wine gatherings, birds, weaponry, mysticism, the body, and music. <strong>Īhām-e Tazad (Contrastive īhām)</strong>: This type relies on words that appear contradictory on the surface but, within the poet’s context and intent, no real opposition exists. The poet seeks to establish a link between two dissimilar and opposing elements in order to convey complex concepts to the audience. In this process, the contrasting words interact with the central meaning, and through their juxtaposition, new meanings are created. These meanings not only make use of conceptual oppositions between words but also provide a foundation for the multidimensional expansion of the poem’s meaning. In fact, the antithetical pun is not merely a rhetorical technique or a lexical play, but a tool for semantic development and deepening of poetic meaning. Malek-e Qomi employs oppositions such as <em>kharābāt / maʿmūr</em> (tavern / inhabited), <em>broken / whole</em>, <em>elite / common</em>, etc., in an effort to deepen the meaning of his poetry. <strong>Īhām-e Tarjomeh (Translational īhām)</strong>: This type of pun was first introduced in the book <em>Abdaʿ al-Badāyiʿ</em> (Gorgāni, 1992: 120). It refers to a case in which words are used in the text whose meanings correspond across different languages, but the poet derives multiple interpretations from them. In fact, synonymous words do not function identically in the semantic context of the poem. Malek-e Qomi has paid relatively little attention to this type. <strong>Īhām-e Tabādor (Simultaneous Evocation)</strong>: <em>Tabādur</em> lexically means “preceding” or “rushing simultaneously.” This type creates a kind of semantic harmony that, in addition to generating aesthetic beauty and artistic appeal, enhances the semantic richness of the text. As a result, the reader engages with the text through careful contemplation and attention, enjoying the discovery of hidden meanings and the interplay of word associations. In fact, this type of īhām requires the reader to possess scientific and literary background knowledge as well as attentiveness in order to appreciate its poetic artistry <strong>Īhām-e Do-Gāne-Xāni (Dual Reading)</strong>: Shamsia classifies this under <em>īhām</em>, explaining that segmenting a simple word into meaningful parts, shifting stress, or altering pronunciation can produce īhām (Shamisa, 2019: 126). This <em>īhām</em> suspends the reader’s mind between two interpretations, resulting in subtle poetic expression.   <strong> Conclusion</strong> <em>Īhām</em> is among the most prominent and complex rhetorical devices in Persian literature, playing a central role in the aestheticization of meaning. Through <em>īhām</em>, poets explore alternative layers of meaning. In Malek-e Qomi's <em>Divan</em>, the most frequent type is <em>īhām-e tanasob</em>, reflecting his poetic richness. By placing semantically rich and multivalent words together, he encourages the reader to search for new semantic relationships. Next in frequency is <em>īhām</em> (tawriya), used to invite reflection through layered meanings. <em>Īhām-e tazad</em> then engages conflicting elements in creative tension, followed by dual reading, which offers alternate narratives. Finally, <em>īhām-e tebādor</em> appears with the lowest frequency. Although Malek-e Qomi did not innovate new types of <em>īhām</em>, he employed the existing types in a purposeful and varied manner to enrich meaning, create artistic ambiguity, and build cohesive links within the poem. The distribution of <em>īhām</em>s in his <em>Divan</em> testifies to his awareness of its rhetorical power and his capability in deploying it effectively in the fabric of Persian poetic tradition.   <strong> References</strong> Azad Belgrami, M. G. A. (2014). Tazkira-ye Azadsarv. Tehran: Safir Ardehal. Ahmadnejad, K. (1993). 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Tehran: Homa     ملک ‌قمی از شاعران فارسی‌زبان اواخر قرن ده و اوایل قرن یازدهم هجری است. دیوان غزلیات او باوجود بهره‌مندی از ویژگی‌های زبانی و بلاغی، تاکنون کمتر از منظر تحلیل آرایه‌های بدیعی مورد واکاوی قرارگرفته است. هدف این پژوهش، شناسایی انواع مختلف ایهام و تحلیل کارکردهای ساختاری و معنایی آن در غزلیات ملک قمی است. این پژوهش به شیوه توصیفی‌ـ‌تحلیلی انجام‌شده است. پس از خوانش دیوان غزل و استخراج نمونه‌های ایهام، داده‌ها بر اساس انواع ایهام دسته‌بندی و تحلیل‌شده‌اند. نتایج نشان می‌دهد که ایهام تناسب بیشترین بسامد را در میان انواع مختلف ایهام دارد و ایهام تضاد، دوگانه خوانی، ترجمه و تبادر در مراتب بعدی قرار می‌گیرند‌. یافته‌های پژوهش حاکی از آن است که ملک قمی باوجود نداشتن نوآوری در خلق انواع جدید ایهام، ولی توانسته است با بهره‌گیری هدفمند و متنوع از آن به‌عنوان ابزاری برای غنای معنایی، آفرینش ابهام‌های هنری و ایجاد پیوندهای منسجم میان اجزای شعر بهره بگیرد. توزیع ایهام‌ها در دیوان او نشان‌دهندۀ آگاهی شاعر از کارکردهای بلاغی این صنعت و توانایی او در به‌کارگیری آن در بافت شعر فارسی است. https://jsr.usb.ac.ir/article_9266_2554ea72337f74d6cef20872a07c4b25.pdf

دانشگاه سیستان و بلوچستان مطالعات شبه قاره 2008-5710 18 50 2026 03 21 The effectiveness of Ratan Singh, attributed to Zakhmi by Hafiz Shirazi تأثیر پذیری رتن سینگ متخلص به زخمی از حافظ شیرازی 127 142 8706 10.22111/jsr.2024.49443.2449 FA محمد یوسف دهانی دانشجوی دکتری زبان و ادبیات فارسی دانشگاه سیستان و بلوچستان، زاهدان، ایران. عبدالعلی اویسی کهخا دانشیارگروه زبان و ادبیات فارسی دانشگاه سیستان و بلوچستان، زاهدان،ایران. عباس نیکبخت دانشیارگروه زبان و ادبیات فارسی دانشگاه سیستان و بلوچستان، زاهدان،ایران.. Journal Article 2024 07 29 Hafez Shirazi is one of the geniuses of Persian poetry and literature, and his Poetry have inspired many poets after him. Among the poets of sweet Persian speech of the 13th century of Hijri in India, who is strongly influenced by Hafez, is Ratan Singh, nicknamed "Zakhmi". The themes of his poetry is romantic-mysticall. Zakhmi is a follower of the Iraqi style and in his Ghazal,<br />The present study is the result of a theoretical study, in this library method, which was carried out in an analytical and descriptive way, <br />The findings of the research show that 1) the structure and coherence of the form and content of Ghazal is influenced by the Iraqi style and especially by Hafez. 2) Zakhmi`s effect of Hafez's sonnet is obvious and obvious from different scenes, form and content. <br />By examining and analyzing Zakhmi's poetry, it was found that Zakhmi welcomed many of Hafez's sonnets and guaranteed the verses of Hafez's poetry, and also influenced the language combinations, themes, and music, as well as the extensive use of Hafez's sonnets. <strong> Introduction</strong> The two nations living in the lands of Iran and India have had a long-standing cultural and neighborly relationship, and their language and race have a common root and origin in some ways. (Ghaleb Dehlavi, 1376: 11) The Persian language spread in India with the conquest of the world by Sultan Mahmud of Ghaznavi; because Mahmud’s companions in India were Persian speakers. In the 12th century AD, the Persian language thus reached Western India. (Yektaei, 1353: 83) “The sweet Persian language reached the subcontinent at the same time as the entry of the Ghaznavids and was chosen as the court and official language at that time, and this position continued until the following periods; “Ghorians”, “Delhi Sultans” (Khalji, Tughlaq, Sadat and Lodi), “Ghorkani Sultans” (such as Babur, Humayun, Akbar, Jahangir, Shah Jahan, Aurangzeb Alamgir and Bahadur Shah Zafar)”. (Moezini, 2002: 136) The present study examines and recognizes the influence of Persian culture and literature on the literature of the subcontinent, and in particular the unique position of the great Persian poet Hafez Shirazi on the poet of the land of India. Without a doubt, Hazrat Hafez Simorgh is the pinnacle of Persian ghazal poetry.... The hadith of his bewitching charm has gone beyond Egypt and China and reached the outskirts of Rome. (Mashadi et al., 2009: 106) In order to better and more accurately understand and recognize the poetry of the poet of the thirteenth century AH, the answers to the following questions are helpful. 1. Is the poetry of the poet of the thirteenth century AH in the Indian style and has difficult themes and interpretations? 2. To what extent is the style of the poet of the poet of the return style similar to that of the poet of Hafez Shirazi in particular? 3. The influence of the poet's ghazal on Hafez's ghazal and the mental and linguistic similarities between the two poets are in which subject and in what contexts <strong>1.1. Research Methodology</strong> The present research is the result of a theoretical study. In this library method, which was conducted in an analytical and descriptive manner on the style of Zari, we have tried to examine and understand the influence of Persian culture and literature on the literature of the subcontinent, especially the unique position of the great Persian poet Hafez Shirazi on Zari, the poet of India, and also to explain Zari's influence on Hafez's ghazal, and also to show some of the mental and linguistic similarities between Zari and Hafez. This article, for the first time, deals with the recognition of the position and influence of Hafez's ghazal on Zari's ghazal; also, all references to the verses are to the Divan of Hafez, edited by Mohammad Qazvini and Qasim Ghani, published in 1988 by Zovar Publications, and the Divan of Ratan Singh, pen name Zari, edited by Babar Nasim Asi, published in 1998 by Asateed University Publications (Tehran), and only to the page number.   <strong> Discussion</strong> Syed Ali Reza Naqvi writes about Zakhmi in his Persian Tazkira Writing in India and Pakistan: “The name of the author of this Tazkira (Anis al-Ashiqin) is Kunwar Rattan Singh, pseudonym of Zakhmi.... Zakhmi learned the art of poetry through the patronage of Mirza Hassan, pseudonym of Qatil,... and composed poetry in the style of earlier poets. He has composed a Diwan in Persian.” (Naqvi, 1343: 521-523) The author of Hadiqa al-Shu’ara writes about Rattan Singh’s (Zakhmi) linguistics and mastery: “... He was knowledgeable in most sciences and in Persian, Arabic, Turkish and English...” (Beigi Shirazi, 1364: 704) Zakhmi has left behind numerous works that show his extensive skill and knowledge in various sciences; among the most important works of Zakhmi are: Diwan Zakhmi: Zakhmi’s most important work is his Persian Diwan, which mostly consists of ghazals. The number of ghazals in the Divan of Zahmi is over 1038 ghazals and the number of verses in each ghazal is mostly seven verses and the total number of verses in his ghazals is more than seven thousand verses. 2) Anis al-Asheqeen: This book is a memoir of poets and includes the states and poems of early and late poets, the number of whom is more than two thousand poets. (Naqvi, 1343: 525) 3) Zahmi welcomed Hafez's ghazals and guaranteed the verses of Hafez's poetry and was also influenced by Hafez's ghazals in linguistic compositions, themes and music as well as the extensive use of radif. Zahmi's ghazals returned to the style and especially imitated Hafez's ghazals; but he is an imitative poet, not an innovator. In Zahmi's ghazals, colloquial words are seen in poetry. He used more innovative verbal techniques such as observing similes, contrast, exaggeration and puns, and in the techniques of expression, he used more of Hafez's poetry's similes and metaphors. Zahmi used clear, explicit words without prejudice and the language of his poetry appears natural and ordinary; Although he was familiar with many different sciences and languages ​​and wrote in them, he did not use the terms of sciences and words of those languages ​​in his ghazal. His ghazal is completely romantic and lyrical. Arabic phrases and words are rarely used in Zari's poetry. In terms of the vertical axis, the themes of most ghazals are uninterrupted and have a spiritual connection; unlike Hafez's ghazal, where the overall coherence of the ghazal themes in the vertical axis is less observed. Another characteristic of Zari's poetry is criticism and satire of the hypocrisy of the work of the advisor, the ascetic, and the orator, which is used in his poetry. Also, the use of the words kharabat, mi, rand, and badeh safi shows that he had an opinion on Hafez's ghazals.   <strong> Conclusion</strong> The pure ghazal of Hafez has had a great influence on many Indian poets, especially Zari. Zari has benefited greatly from Hafez's ghazal in terms of linguistic structure (phrases, combinations, special and prominent words), thought and themes, literary beauties and music. There is also a great deal of continuity and similarity in the themes of their ghazals, especially in the subject of love, and in this regard, Zari has welcomed some of Hafez's verses and has also guaranteed Hafez's poetry. The most important influence of Hafez's ghazal on Zari is in the field of music. Zari has collaborated with Hafez's ghazal by composing beautiful ghazals with the same meter, radif and rhyme, as well as ghazals with the same meter and radif with different rhymes; in addition, the similarity of the radif (external music) of Zari's ghazal and the simple present radifs of Hafez's ghazal also proves that Zari's ghazal is also strongly influenced by Hafez's ghazal in terms of music.   <strong> References</strong> Anvare, H (2000) It's just a story, First edition , Tehran : Abed Baygi Sherazi , S.A (1985) Poets' Garden , Corrected by Dr. Abdolhossein Navaei , Volume One , First edition , Tehran : Zarren Dashti , A (2001) Saadi's realm , Fourth edition , Tehran: Amer Kaber Ghalib Dehlavi.A. (1997) The Diwan of Ghalib, By Mohsen Kiani, First edition , Tehran : Rozane Hafez , SH. M (1988) Hafez's Divan, By Mohammad Qazvini and Dr. Qasem Ghani, Fifth edition, Tehran, Zovvar Hasan khan , S. A (1878) Gulshan Morning Note, Behopal, Shah Jahani Printing House Javed, A; Chehraghani ,R ; Shahid M. A (2023) A study of the ways in which Iqbal Lahori was influenced by Hafez Shirazi's poetry , Journal of Subcontinental Studies , Number 15 , Pages 72-95 Zakhme. R (2019) The Divan of Zakhme, Edited by Babar Nasim Asi, Tehran: University professors Khanlari. P (1958) The weight of poetry, Tehran: University of Tehran Khatibi .H (2007) The Art of Prose in Persian Literature, Tehran: Zovvar Lodi . SH. A (1998)  Merat Al  kheyal, Edited by Hamid Hassani and Behrouz Safarzadeh, Tehran : Rozane Mashhadi .M.A; Vathiq Abbasi .A; Mashhadi .M.R (2010) Hafiz and Ghalib , Journal of Subcontinental Studies, Number 5, Pages 101-124 Mokhtari . M (2014) Seventy years of love in Persian poetry, Second edition, Tehran: Butemar Monzavi. A (1997) List of Persian books, Volume One, First edition, Tehran: Cultural Heritage Association Muezzine .A.M (2002) Factors behind the influence and spread of the Persian language in the subcontinent, Persian Sugar Magazine , Number 17, Pages 136-142 Naqvi. S.R (1964) Persian ID card writing in India and Pakistan, Tehran: Elmee Safa.Z (2007) History of Iranian Literature, Volume Two, Eighteenth edition, Tehran: Ferdows Samiei. A (1991) Hafez's words and message, Under the supervision of Nasrollah Pour Javadi, Second edition , Tehran : Academic publishing Shafiei Kadkani . M.R (1989) Music poetry, Second edition, Tehran: Aghah Talebian.Y; Islamiyat. M (2005) The multifaceted value of the line in Hafez's poetry, Journal of Literary Research, Second year, Number 8, Pages 7-28 Yektai. M (1974) The influence of Iranian and Islamic culture in the lands of India and Pakistan , Tehran: Iqbal. حافظ شیرازی از نوابغ شعر فارسی است و شعر او الهام بخش بسیاری از شاعران پس از وی بوده است . از جمله شاعران فارسی قرن سیزدهم هجری هندی که متأثر از حافظ است رتن سینگ متخلص به زخمی است. مضامین غزل زخمی، عاشقانه -عارفانه است .زخمی پیرو سبک عراقی است و در غزل خود به استقبال شعر حافظ پرداخته است<br />این پژوهش حاصل مطالعه نظری و به روش کتابخانه ای با شیوه تحلیلی -توصیفی درباره تاثیر پذیری زخمی از حافظ انجام شده است<br />یافته های پژوهش نشان می دهد زخمی بسیاری از واژه های عارفانه همچون خرابات ، میخانه ، رند و ... را از حافظ وام گرفته است .گاهی نیز به سان حافظ به شیخ و ناصح و مفتی تاخته است. در مجموع ساختار و انسجام صوری و محتوایی غزل زخمی متاثر از سبک عراقی و بویژه حافظ است . تأثیر پذیری زخمی از حافظ در محورها و مناظر مختلف صوری و محتوایی غزل آشکار است. <br />در بررسی و تحلیل شعر زخمی مشخص گردید که زخمی به استقبال بسیاری از غزلیات حافظ پرداخته ومصرع های شعر حافظ را تضمین نموده است .در ترکیبات ، مضامین و موسیقی و نیز کاربرد گسترده ردیف از غزل حافظ تأثیر پذیرفته است. https://jsr.usb.ac.ir/article_8706_88e89ad1ba4f57825aadb448274cab93.pdf

دانشگاه سیستان و بلوچستان مطالعات شبه قاره 2008-5710 18 50 2026 03 21 Recognizing the path, the Sharia, and the truth from the perspective of Majalis Nizamuddin Olya بازشناسی طریقت، شریعت و حقیقت از منظر مجالس نظام‌الدین اولیاء 143 162 8788 10.22111/jsr.2025.50020.2460 FA زهره رحیمی زارع دانشجوی دکتری گروه زبان و ادبیات فارسی دانشگاه قم،قم ایران یحیی کاردگر استاد گروه زبان و ادبیات فارسی دانشگاه قم،قم،ایران(نویسنده مسئول) محمد فولادی دانشیار گروه زبان و ادبیات فارسی دانشگاه قم،قم،ایران Journal Article 2024 10 12 Cheshtiyya is the name of a chain of Sufi orders in India. In their opinion, Sharia has priority over Tariqat. Nizamuddin Olya is one of the elders of this sect in the Indian subcontinent. The principles of the Chishtiyya sect have a special reflection in its meetings and events, and one can understand its thoughts and the teachings of the Chishtiyya sect well from the monographs of his meetings. Amir Hassan Sajzai and Amir Khosro Dehlavi, one of his disciples, have collected the words of their Sheikh under the title of Fawayed al-Faw’ad, Afdhal al-Fawayed and Rahat al-Mohebein. With a descriptive, analytical and comparative approach, the article has examined and analyzed the mystical thoughts, moral and theological teachings of the Sheikh based on these works. The present study shows that Nizamuddin Olya is a mystic of the Hanafi religion, and from a theological point of view, he follows the Ash'ari school in the discussion of predestination, free will, and the vision of God. The most central teachings of Nizamuddin are his great emphasis on adherence to Sharia. Emphasis on doing fariz and mustahabat, reciting the Quran and paying attention to adhar speaks of his adherence to Sharia. <strong> Introduction</strong> India has been a suitable environment for the cultivation of Sufi thoughts since ancient times and has cultivated the principles of Sufism in the form of various schools of thought. One of the most influential Sufi sects in India is the Chishtiyyah sect of Khwajas. This sect, “in addition to prayer, also practiced fasting. Repentance, piety, self-examination, meditation, and struggle were an essential part of the life of the Chishtiyyah” (Kaikhay-e-Farzaneh, 1394:101). The Nizamiyah path is one of the branches of this sect and its founder is Nizamuddin Awliya (725). Khwaja was born in the city of Badayoun in 634 AH. He spent his life cultivating disciples. Among his disciples, Amir Hassan Sajzai and Amir Khusraw Dehlavi have a special place. These two recorded the sayings and gatherings of the Sheikh in the form of works and, according to the established tradition in the field of mystical literature, published their works under the name "Malfuzat". Amir Khosrow Dehlavi (652-725) recorded the Malfuzat of the Sheikh in two books "Afzal-ul-Fawaid" and "Rahat-ul-Muhabbin", and Amir Hassan Sajzi (737 AH) dedicated the book "Fawaid-ul-Fawad" to the gatherings of the Sheikh. In this article, their monographs became the basis for analyzing the profile of Nizam-ud-Din Awliya. The important issue of the present research is what issues Nizam-ud-Din's thoughts and ideas contain and how much attention does he pay to Sharia? <strong> Research Method </strong> Understanding the thoughts of Nizamuddin Auliya can explain a major part of the mystical thoughts of the Chishtiyya. Direct reference to the Sheikh's surviving works is a guide to a precise understanding of his mystical teachings. Amir Khusro Dehlavi and Hassan Dehlavi, familiar names in Indian culture and literature, are among the disciples of Nizamuddin; they recorded and included his gatherings in their works. Considering their prominent scientific and literary status and the importance of their works in understanding Nizamuddin Auliya; it is possible to approach Nizamuddin Auliya's teachings by analyzing the aforementioned works in a detailed and comprehensive manner. The present study, in a descriptive-analytical manner, has attempted to present a comprehensive picture of him by criticizing and analyzing the monographs of the Sheikh's gatherings and explaining his concerns through the gatherings.   <strong>3-Discussion</strong> One way to understand mystical figures is to examine the sources written about them. Mystics strive to achieve spiritual perfection; to find the path to divine knowledge and show it to others. In this section, we seek to introduce the face of Nizamuddin through monographs; to gain insight into his intellectual, doctrinal, and behavioral aspects. Manners of conduct Path and conduct are the most important part of practical mysticism. The Chishtiya path, like other mystical schools, adheres to principles and methods; to guide the seeker to the main goal, which is; knowledge of the truth. These principles can be found in their works. Manners of conduct from the perspective of the Khawaja include: secrecy, purification, allegiance, observation, remembrance, listening, the manners of wearing a robe, the relationship between the disciple and the disciple, and love. <strong><em>Stages of conduct</em></strong> The stages of conduct are the levels that the seeker reaches one after another during the path and in order to achieve perfection. There are aspects of difference and commonality in the order and explanation of the stages. Repentance, asceticism and renunciation of the world, patience, fear and hope, trust, submission and contentment are the stages that Khwaja has mentioned in the path. Obstacles to the path After passing through the stages, it is necessary to be aware of the obstacles to the path; despite the veils, passage is not easy. Therefore, abandoning and avoiding vices takes precedence over adorning the soul with the ornaments of moral virtues. Appearance, anger and lust, striving, laughter, slander and false oaths are the obstacles that Khwaja has condemned. <strong><em>Sharia in the gatherings</em></strong> In the Chishtiyya order, “Sharia precedes the path and they consider the path to require passing through it. Not only the disciples but also the sheikh must carefully fulfill all religious obligations and obligations and even religious recommendations.” (See: Arya,1365:203) Theological thoughts of the sheikh Nizam al-Din’s thought originated from Islamic teachings. He is a Hanafi and boasts of it; "The right of Allah Almighty to give us these blessings. He did not give anyone. First, he made us from the nation of the Messenger of Allah, peace be upon him. Praise be to Allah; second, he made us from the nation of Abraham, the friend of Allah, the one who is in the school of the Great Imam, namely; Abu Hanifa, the Kufic; fourth, he created a Muslim and made him the one who says La ilaha illallah Muhammad is the Messenger of Allah" (Rahat-ul-Muhabbin, 15:1290, 16). His theological guardian Ibn Mayah is Ash'ari in the area of ​​predestination and free will and seeing God on the Day of Judgment. This idea is embedded in the mind of Khwaja Nizam al-Din that "seeing God on the Day of Judgment after death is possible" (cf. Dehlavi, 1377:50). <strong><em>The Sheikh's Moral and Social View</em></strong> The moral points that the Sheikh refers to in his meetings have a prominent social dimension. Companionship and fellowship with people, humility, affection and brotherhood between people, charity, forgiveness and tolerance, mercy and compassion, veiling, respect for the elderly, the right to be a neighbor, kinship ties, visiting the sick, and feeding are among the most important moral points that the Sheikh calls upon his audience to follow. <strong>4-Conclusion</strong> The Chishtiyyah order, with the help of its own customs and teachings, was able to spread and institutionalize Islam in the Indian subcontinent. This order has been influential among the people through its pragmatic approach through its sheikhs. They have always considered the practical aspect of mysticism and emphasized the Sharia; because they consider the path to the path to require passing through it. Nizamuddin Auliya is one of the elders of this sect in India; the practical behavior of the cleric, along with his teachings in the assemblies, is a good representation of his attitude and teachings. Amir Hassan Sajzi and Amir Khusro Dehlavi have collected the speeches of their sheikh under the titles "Fawayid al-Fuad", "Afzal al-Fuayid" and "Rahat al-Muhabeen". By analyzing these works, one can understand Nizamuddin's thoughts; Based on the above discussions, it is concluded that he is a Hanafi and Ash'ari scholar. In the field of theology, he thinks like the Ash'aris in the discussion of predestination, free will, and seeing God, and he believes that the doer of all God's actions is. According to his view, what a person experiences in his destiny; is already determined for him and man has no ability to change it and must submit to the will and will of God. Regarding seeing God, he also believes that one can see God with the eyes of the head on the Day of Judgment. The most central teachings of Nizam al-Din are his strong emphasis on adherence to the Sharia, meaning that as a disciple, he must perform all the obligatory and recommended and even recommended acts of the Sharia to the letter. He emphasizes performing obligatory and recommended prayers, fasting, paying zakat, and reciting the Quran; he asks the path seeker to recite the dhikr in addition to performing them. He calls on his disciples to complete submission to the elder. Like other Sufis, he considers secrecy, purification, allegiance, striving to observe, remembrance, listening, the manners of wearing the robe, the relationship between the disciple and the disciple, and love to be among the customs and traditions of the path. The positions that Khwaja lists are repentance, asceticism, and renunciation of the world, patience, fear and hope, trust, submission, and contentment. He considers immersion in the remembrance of the truth possible through purification of the soul. He speaks of the difficulties of the path and believes that externalism, anger and lust, striving, laughter, slander, and false oaths are obstacles to the path. Among other topics raised, one can mention the ethical and social concepts that are always considered in the path and that the seeker is obliged to observe. From a social perspective, all divine creatures are worthy of love. Khwaja encourages his disciples to be affectionate and friendly, humble, and give charity.                                                                                                                             <strong>5-References</strong> The Holy Quran Ahmed, Shaikh I. (2010). Emeers And Disciples of Hazrat Nizamuddin Auliya<em> </em>,University of Jawaharlal Nehru,India,Journal of Subcontinent Researches,Vol.2,No.4. Anoushe, H. (2002). Persian Literary Dictionary, Volume 2, second edition, Tehran: Ministry of Culture and Islamic Guidance Printing and Publishing Organization. Abbasi, B. (2022). Encyclopedia of the Islamic World, Volume 8, Tehran: Islamic Encyclopedia Foundation. Amid Zanjani, A. A. (1987). A study on the emergence and developments of Sufism and mysticism, Tehran: Amir Kabir. Arya, Gh.A. (1986). the Chishti method in India and Pakistan and the services of the followers of this method to Islamic and Iranian culture, first edition, Tehran: Zovar. Arya, Gh.A. (1996). Generalities in the Fundamentals of Mysticism and Sufism, First Edition, Tehran: Paya Publications. Ismaili, M. (2015). The role of the doctrine of asceticism in the conduct of the Nizamuddin Olya and its impact on the intellectual system of Cheshtian, Master's thesis, Kharazmi University. Ashraf Khan, A. (2001). The Fawayed al-Faw’ad and the Teachings of Hazrat Nizamuddin Olya, Persian Research, No.1. Ashraf Khan, A. (2005). Malfozate of Hazrat Nizamuddin Olya  and the World Brotherhood, Ghand Parsi, No. 31. Chakravarty .G. (2010). Reading Fawid_al_ Faw’ad:Text,Testimony and history ,University of Delhi, India, Journal of Subcontinent Researches,Vol.2,No.4. Chittick, W. (2010). An Introduction to Islamic Sufism and Mysticism, translated by Jalil Parvin, second edition, Tehran: Hekmat Publications. Dehkhoda, A. A. (1998).<em> </em>Dictionary, 14th volume, 2nd edition, Tehran: University of Tehran. Dehlavi, Kh. H. (1998). Fawayed al-Faw’ad, Malfuzat of Khawaja Nizamuddin Oliya Badiwani, corrected by Mohammad Latif Malik, by Dr. Mohsen Kiani, first edition, Rozeneh. Dehlavi, A. H. (2006)<em>.  </em>Fawayed al-Faw’ad edited by Tawfiq H. Sobhani, Tehran: Zovar. Dehlavi, A. Kh. (1909). Afdhal al-Fawayed, manuscript, microfilm number 30/3. Dehlavi, A. Kh. (1701). Afdhal al-Fawayed, manuscript, microfilm 6/66, library number 5/1475. Dehlavi, A. Kh. (1911). Rahat al-Mohebein, manuscript, microfilm 3203: list of microfilms of the Central Library and Document Center of Tehran University, volume 2, authored by Mohammad.  Taghi Danesh Pajoh, page 98, the original of which is in Bankipur Library of India, number 1642 (part of the treatise) Volume 17 is page 114.  Elah Dayh, Sheikh A. R. (2007). Khawajgan Chisht, Sir al-Aghtab, introduction to correction, index and explanation by Mohammad Sarwar Moulai, Tehran: Alam. Gholamrezaei, M. (2009). Sufi prose stylistics from the fifth century to the beginning of the eighth<em> </em>century, Tehran: Shahid Beheshti University. Hakimi, I. (1994). <em>Sama in Sufism</em>, 5th edition, University of Tehran. Hashemi, S. R. (2022). Encyclopedia of the Islamic World, Volume 5, Tehran: Islamic Encyclopedia Foundation. Jami, N. A. (2005). The nafahato alons. Edited by Mahmoud Abedi, Tehran: Sokhan Publishing. Kashani, Ezzeddin M. (2015). Misbah al-Hadaye and Miftah al-Kafayeh, edited by Jalaluddin  Homai, 12th edition, Tehran: Sokhon. Kaykhai Farzaneh, A. R, Sudabeh Salimi Khorashad. (2015). The Mystical View of Khwaja Moein Chishti Based on the Divan Attributed to Him, Quarterly Journal of Subcontinental Studies, No.     23, pp. 97-116. Lal Badakhshi, L. (1997). Samrat Al-Quds Man Shajarat Al-Ons, introduction, corrections and notes by Dr. Seyed Kamal Haj Seyed Javadi, first edition, Tehran: Research Institute of Humanities and Cultural Studies. Muhaddith Dehlavi, Abdul H. (2004). Akhbar al-Akhyar fi Asrar al-Abrar, corrected and explained by Alim Ashraf Khan, first edition, Association of Cultural Works and Masters. Moein, M. (1996). Persian Dictionary, Volumes 1 and 2, 10th edition, Tehran: Amir Kabir. Najafi Barzegar, K. (2015). Munis al-Arwah, a valuable work in describing the lives of the sheikhs of the Chishti dynasty. Quarterly Journal of Subcontinental Studies, No. 25, pp. 121-132. Naraghi, M. (1987). Jame al-Saadah, translated by Seyyed Jalal al-Din Mojtabawi, Volume 2, Tehran: Hekmat. Pargho, M. A. (2022). The manner and causes of the spread of Shiism in India (from the seventh to the tenth century AH), Quarterly Journal of Subcontinental Studies, Volume 14, No. 43, pp. 57-70. Rahman, A. (2018). Services of the Chishtiyya dynasty in Persian language and literature in the Indian subcontinent. Persian ghand. No. 75-78, pp. 99-118. Razavi, Seyyed A . A. (2001). History of Sufism in India, translated by Mansour Motamedi, first edition, Tehran: Academic Publishing Center. Sabraqkand, Z. (2012). Comparative Study of Mystical Teachings in Rumi's Fiya Mafiya and Fawayed al-Faw’ad of Hazrat Nizamuddin Olya, Master's Thesis, Shahid Madani University of Azerbaijan. Sajjadi, Seyyed Z. (2009). Introduction to the Basics of Sufism, 15th edition, Tehran: Samit. Safa, Z. (1980). History of Literature in Iran (Volume 3, Part 2), Seventh Edition, Tehran: Ferdows Publications. Shahrashtani, A. (1956). Millam and Nahal, translated by Afzaluddin Sadr Turke Isfahani, corrected and updated by Seyyed Mohammad Reza Jalali Nayini, second edition, Taban printing house. Shams, M. J. (2022). Encyclopedia of the Islamic World, Volume 7, Tehran: Islamic Encyclopedia Foundation. Sobhani, H. T. (1998). A Look at the History of Persian Literature in India, First Edition, Persian Language and Literature Development Council Publications. Taheri, S. M. (2010). A Study of the Currents of Sufism in the Subcontinent, Quarterly Journal of Subcontinental Studies, No. 5, pp. 29-54. Zakavoti Qaragazloo, A.R. (1998). The Malfuzat of Khawaja Nizamuddin Oliya, edited by Mohammad Latif Malek, Book of the Month of Literature, Issue 14, pp. 29-30.   چشتیه، مانند دیگر فرقههای تصوف، آداب و رسوم و عقاید خاصی داشتند. در نظر ایشان، شریعت بر طریقت رجحان دارد. نظام‌الدین اولیاء یکی از بزرگان این فرقه در هند است. اصول فرقه چشتیه در مجالس و ملفوظاتش انعکاس ویژه‌ای دارد و از تک‌نگاری‌های مجالس او به خوبی می‌توان اندیشه-های او را دریافت. امیرحسن سجزی و امیرخسرو دهلوی، از مریدان او، سخنان شیخ خود را با عنوان فواید‌الفؤاد، افضل‌الفواید و راحة‌المحبین گرد آورده‌اند. مقاله با رویکردی توصیفی، تحلیلی افکار عرفانی، آموزه‌های اخلاقی وکلامی شیخ را بر مبنای این آثار تحلیل کرده‌است. پژوهش حاضر نشان می‌دهد که نظام‌الدین عارفی، حنفی مذهب است و از دیدگاه کلامی در بحث جبر، اختیار و رؤیت خدا دنبالهرو مکتب اشعری است. محوریترین آموزههای نظام‌الدین، تأکید فراوان او در پای‌بندی به شریعت است. تأکید به انجام فرایض و مستحبات، تلاوت قرآن و توجه به اذکار از پای‌بندی او به شریعت حکایت می‌کند. بیان مقامات سلوک، تبیین دقیق موانع سلوک، توجه فراوان به آموزه‌های اخلاقی و اجتماعی، از مهم‌ترین نکاتی است که در مجالس شیخ برجسته شده است. از این رو می-توان گفت: شریعت، طریقت، اخلاق، انسان و اجتماع واژه‌های کلیدی مجالس شیخ هستند؛ که از وسعت دید شیخ و آموزه‌های فرقه چشتیه حکایت دارد. https://jsr.usb.ac.ir/article_8788_4808ab6d006bb05325aea9cf9493536c.pdf

دانشگاه سیستان و بلوچستان مطالعات شبه قاره 2008-5710 18 50 2026 03 21 Analysis of the Development of the Educational System of Deobandia in the Indian Subcontinent The Second Half of the 19th Century to the Beginning of the 20th Century سیر تحولی نظام آموزشی مدرسه دیوبندیه در شبه قاره هند (نیمه دوم قرن نوزدهم تا اوایل قرن بیستم) 163 176 8953 10.22111/jsr.2025.49794.2455 FA اسما رضائی دکترای تاریخ اسلام، دانشگاه تربیت مدرس، تهران، ایران. علی اصغر رجبی استادیار، دانشگاه خوارزمی، دانشکده ادبیات و علوم انسانی، گروه تاریخ، کرج، ایران.(نویسنده مسئول) Journal Article 2024 09 14 The Deobandiya is a crucial Islamic educational center in the Indian subcontinent, significantly influencing the educational system and the religious identity of Muslims. Founded during a period of political decline and British colonial rule, it aimed to address the challenges faced by Indian Muslims by emphasizing Islamic education to strengthen their religious identity. This study explores the impact of the Deobandiya educational evolution on its cultural dynamics, utilizing historical methods and data analysis. The founders recognized that educating individuals was essential to counter the adversities posed by colonial policies. As a result, they sought to transform the ideological and political beliefs of Muslims through their educational framework. Over time the Deobandiya evolved in response to historical conditions and the needs of the Muslim community, transitioning from a local institution to a significant international center in intellectual and educational spheres. This transformation highlights the role of fostering a renewed sense of identity and resilience among Muslims in a colonized society.   <strong> Introduction</strong> The establishment of Deobandia occurred in a period of profound transformation in the Indian subcontinent. British colonialism introduced modern institutions and cultural norms, which challenged traditional structures, including those of Muslim communities. Amid these changes, the Deobandia was founded to revive Islamic traditions and provide a counter-narrative to colonial cultural dominance.Deobandia emphasized a curriculum grounded in classical Islamic sciences, including Quranic exegesis, hadith studies, Islamic jurisprudence (fiqh), and theology. Unlike many contemporary institutions, it resisted incorporating Western sciences or modern education, instead striving to sustain the authenticity of traditional Islamic learning. This focus on religious education was aimed at producing scholars and leaders capable of preserving Islamic identity and resisting the cultural assimilation imposed by colonial policies. Deobandia's educational approach was unique in its independence from government control. The school operated through donations and maintained financial autonomy, ensuring freedom from colonial influence. Its emphasis on debate, discussion, and critical thinking fostered an environment of intellectual rigor. As a result, it became a model for other Islamic institutions in the subcontinent, establishing a network of branches that extended its influence far beyond its original location. <strong><em>1.1. Research methodology</em></strong> This study employs a descriptive-analytical approach to explore the historical development of the Deobandia. Historical data and primary sources were analyzed to understand the institution's evolution and its responses to colonial challenges. The findings reveal that Deobandia’s adaptability was a key factor in its success, enabling it to navigate periods of crisis while maintaining its core mission.   <strong> Discussion</strong> Over time, the Deobandia School underwent significant changes in response to shifting social, political, and cultural conditions. While the institution remained committed to its core principles, it demonstrated remarkable adaptability to meet the evolving needs of Muslim communities. One of the key challenges faced by Deobandia was the tension between maintaining traditional Islamic education and addressing modern societal demands. During the early 20th century, the school began integrating elements of modernity into its system. While retaining its focus on Islamic sciences, it incorporated aspects of contemporary education, such as scientific competitions and an increased emphasis on academic excellence. This balance allowed Deobandia to remain relevant in a rapidly changing world while preserving its foundational goals. The Deobandi’s influence extended beyond the realm of education to impact the broader cultural and political landscape of the Indian subcontinent. It played a vital role in shaping the intellectual and ideological foundations of Indian Muslims, fostering a sense of unity and purpose among them. Many of its graduates became prominent leaders in India’s independence movement, using their education to challenge colonial rule and advocate for social reform. The institution also contributed to the preservation and dissemination of Islamic knowledge. By producing scholars who adhered to traditional interpretations of Islam, Deobandia ensured the continuity of Islamic teachings in a period of cultural disruption. Its graduates often became educators, imams, and community leaders, further strengthening the religious and cultural identity of Indian Muslims.   <strong> Conclusion</strong> The Deobandia School stands as a testament to the resilience and adaptability of Islamic education in the face of colonialism and modernity. Its establishment was a direct response to the challenges posed by British domination, which threatened the cultural and religious identity of Indian Muslims. By emphasizing traditional Islamic education and maintaining financial and managerial independence, Deobandia provided a model for other institutions seeking to preserve religious and cultural traditions amid external pressures. Over the decades, the Madrasa evolved to meet changing societal needs while remaining steadfast in its commitment to Islamic principles. Its success lies in its ability to balance tradition with modernity, ensuring its relevance and influence across generations. Today, Deobandia continues to inspire educational and historical research, serving as a significant example of how religious institutions can adapt to changing times without compromising their foundational values. In sum, the Deobandia School not only preserved Islamic traditions but also actively shaped the intellectual and cultural dynamics of the Indian subcontinent. Its legacy underscores the importance of education in fostering resilience and identity in the face of external challenges. As a pioneer of Islamic educational reform, Deobandia remains a symbol of intellectual and spiritual revival for Muslim communities worldwide.   <strong> References</strong> Al-Hassan, Moshir. 1988. Islamic Movements and Ethnic Tendencies in the Indian Colony, translated by Hassan Lahoti. Mashhad: Quds Razavi Province Publications. Al-Nimr, Abdul Moneim. 1968. Struggle of Muslims in the Liberation of India, translated by Seyyed Ali Khamenei. Tehran: Khorasan Printing House. Azami, Dr. M. Basim. 2008. Maulana Muhammad Qasim Nanotvi Ki Didactic Imaginations. Adliyya Publikatsane, Doman Pur (Kesari), Deoband: Nishat Printing Press. Aziz, Ahmad. 2017. History of Islamic Thought in India, translated by Naqi Lotfi and Mohammad Jafar Yahaghi. Tehran: Kayhan Scientific and Cultural Publications. Abusaleh Shariff, Abdul Azim Islahi. 2012. Muslims in Indian Economy. Delhi: Penguin Random House India. Ainslie, T. 1970. The Deoband School and the Demand for Pakistan. New York: University of California Press. Aziz, Ahmad. 1967. Islamic Modernism in India and Pakistan. London: Oxford University Press. Azra, A. 1994. The Emergence of Islam in Indian Politics: The United Provinces, 1900-1933. London: Oxford University Press. Bazargan, Mehdi. n.d.. Freedom India. Tehran: Omid Publishing House. Basu, B.D. 1922. History of Education in India. Calcutta: R. Chattargee Publishers. Gilani, Manazir Ahsan. 2005. A Journey in the Life of Imam Maulana Muhammad Qasim Nanotvi, translated by Salahuddin Shahnavazi. Zahedan: Seddiqi Publications. Hardy, Peter. 1939. Muslims of British India, translated by Hassan Lahuti. Mashhad: Quds Razavi Province Publications. Hindi, Syed Ahmad Khan. 1963. Articles by Sir Syed, edited by Ismail Panipatti. Volume 1. Lahore: Tarqi Adab Magazine. Hasan, M. 2015. Legacy of a Divided Nation: India's Muslims since Independence. London: Oxford University Press. Hoshangi, Leila 2019, Deobandi schools, educational system and social and cultural consequences, Islamic History and Civilization Research Journal, Volume 45, Number Two. Jaffrelot, Christophe. 2006. Muslims in Indian Cities: Trajectories of Marginalization. Delhi: Penguin Random House India. Kopf, David. 1969. British Orientalism and the Bengal Renaissance. Cambridge: University Press. Kolahdoozha, Parastu & Abediha, Hamid. 2023. Discourse on Religious Reform in the Indian Subcontinent in the Nineteenth Century: Sir Syed Ahmad Khan. Quarterly Journal of Subcontinental Studies, Volume 14, Issue 43, pp. 219-189. Lepidus, M.L. 1981. Muslims and the Making of Modern India. London: Oxford University Press. Maqbool Ahmad, Salahuddin. 1493. the Call of Sheikh Islam Ibn Taymiyyah and Its Effects on Contemporary Islamic Movements and the Position of Opponents in It. Kuwait: Dar Ibn Al-Athir. Muqri Tabib, Muhammad. 2023. Deoband Scholars of Doctrine and Manhja, written by Allama Qazi Muhammad Taqi Al-Uthmani. Pakistan: Darul Uloom Karatist School. Mujeeb, M. 2006. Muslims and Education in India: A Historical Perspective. New Delhi: Manohar Publishers. Razavi, Seyyed Mahboob. n.d.. History of Deoband. Delhi: Ashok Press. Sadeghi Alavi, Mahmoud. 2017. History of Islam in the Subcontinent. Qom: Hawza and University Publishing House. مدرسه دیوبندیه، از مهم‌ترین مراکز آموزشی اسلامی در شبه قاره هند، نقش چشمگیری در تحول نظام آموزشی و تقویت هویت دینی مسلمانان این منطقه ایفاء کرده‌است. تاسیس دیوبندیه در زمانی صورت گرفت که مسلمانان هند با چالش‌های جدی نظیر زوال سیاسی و تسلط استعماری بریتانیا، مواجه بودند. به منظور واکنش به این وضعیت علمای مسلمان دیوبندیه بر بازسازی و تقویت هویت دینی مسلمانان از طریق ارائه آموزش‌های اسلامی متمرکز شدند. سوال اصلی پژوهش حاضر این است که سیر تحولی نظام آموزشی مدرسه دیوبندیه چه تاثیری بر پویایی فرهنگی این نهاد علمی داشته است؟ دستاوردهای این پژوهش بر اساس روش تاریخی و تحلیل داده‌ها استوار است. مسلمانان هند به دلیل سیاست‌های استمعاری بریتانیا با مشکلات فراوانی رو به رو شدند، بنابراین بنیان‌گذاران این مدرسه در طراحی نظام آموزشی به دنبال ایجاد تحولی عمیق در باورهای عقیدتی و سیاسی مسلمانان بودند. آنها آموزش افراد تحصیل‌کرده را به عنوان راه حل مناسب برای مقابله با چالش‌های موجود در جامعه استعمار زده خود در نظر گرفتند. سیر تحولی دیوبندیه، شرایط تاریخی، نیازهای جامعه مسلمانان و تاثیرات استعمار بریتانیا، این مدرسه را از یک نهاد محلی به مرکزی مهم و بین‌المللی در عرصه‌های فکری و آموزشی تبدیل کرد. https://jsr.usb.ac.ir/article_8953_1da661b458b459cc2254f20cef4d2801.pdf

دانشگاه سیستان و بلوچستان مطالعات شبه قاره 2008-5710 18 50 2026 03 21 Comparison of word choice in the translation of some Quranic verses »based on the translations of Muhaddith Dehlavi and Garmarudi« مقایسه گزینش واژگان در ترجمه برخی آیات قرآنی «با تکیه بر ترجمه های محدث دهلوی وگرمارودی» 177 194 9918 10.22111/jsr.2026.51196.2484 FA رضا رضایی دانشیار گروه زبان و ادبیات عربی، دانشگاه سیستان و بلوچستان،زاهدان،ایران. عبدالرحمان گمشادزهی دانشجوی دکتری گروه زبان و ادبیات عربی دانشگاه سیتان و بلوچستان Journal Article 2024 12 21 Shah Waliullah Dehlavi is considered one of the greatest Quran scholars and activists in the field of Hadith sciences in the 12th century AH in the Indian subcontinent. He was a Quran scholar, Hadith scholar, jurisprudence scholar, and an unparalleled theologian of his time. One of Dehlavi's most important masterpieces is the Persian translation called "Fath al-Rahman". Dehlavi's valuable work has attracted the attention of many Quran scholars and researchers of Quranic sciences due to its special features. The translation of the Quran into Persian in the subcontinent is important in terms of Persian and Arabic linguistics and in terms of the translator's level of depth in topics related to Quranic sciences and literary aesthetics. In order to explain the aforementioned aspects, this research has been conducted using a descriptive and analytical method and in comparison with the literary and authoritative translation of the Holy Quran by Ali Mousavi Garmarudi in the field of the structure of the command and the translation of the concept. The findings of the research, in comparison with Garmarudi's translation, show that Muhaddis Dehlavi's translation is a noteworthy and distinguished translation in terms of its attention to literary subtleties, consideration of rhetorical nuances,   <strong> Introduction</strong> The context and structure of every language possess their own distinctive features and characteristics. These features function as instruments for conveying meaning and enable the transmission of concepts embedded within a language to the مخاطب (audience). In Arabic, the semantic range of expressions and constructions is notably extensive. Shah Waliullah Dehlawi, one of the most prominent Qur’anic scholars and leading figures in Hadith studies in the 12th century AH in the Indian subcontinent, occupies a distinguished position in this field. The translation of the Qur’an into Persian in the subcontinent began approximately two centuries prior to Dehlawi with the translation of Makhdoom Nuh in 998 AH. However, Dehlawi’s translation is undoubtedly regarded as the most precise and scholarly translation in that region (Haddad-Adel, 1390: 58). The Persian translation of the Qur’an in the subcontinent is significant both from the perspective of Persian and Arabic linguistics and in terms of Dehlawi’s depth of engagement with Qur’anic sciences and literary aesthetics. In order to better understand the conceptual and structural merits of Dehlawi’s Persian translation and to highlight his sensitivity to the linguistic requirements of both Arabic and Persian, his translation is compared with one of the finest contemporary Persian translations of the Qur’an, namely that of Garmaroudi. This comparison aims to reveal the distinctiveness and dignity of Dehlawi’s translation through lexical and structural analysis. <strong>Problem Statement, Research Significance, and Research Questions</strong> The translation of the Holy Qur’an is essential for those who lack proficiency in Arabic. This need is particularly evident in the Indian subcontinent. Without an accurate and comprehensible translation, access to the profound meanings of the Qur’an and the ability to benefit from its teachings become difficult. Despite its antiquity, Dehlawi’s Persian translation is recognized as a valuable work due to its precision and subtlety. Baha’ al-Din Khorramshahi describes Garmaroudi’s translation as one of the most eloquent, Persianized, and fluent translations of the Qur’an throughout its more than 1,200-year history (Garmaroudi, 1383: 629). This study seeks to answer two fundamental questions: a) What are the characteristics of Shah Waliullah Dehlawi’s translation in terms of grammatical structure and adherence to semantic requirements? b) In comparing the translations of Dehlawi and Garmaroudi, which demonstrates greater fidelity to conceptual and lexical precision?   <strong> Methodology</strong> This research is conducted using a descriptive-analytical method. First, the general features of Dehlawi’s Qur’anic translation are examined. Subsequently, selected cases from Dehlawi’s Persian translation are analyzed comparatively alongside Garmaroudi’s translation. To elucidate semantic and lexical subtleties, reference has been made to works on Qur’anic exegesis, Arabic linguistics, and grammatical studies. Data collection has been carried out through library-based and documentary (digital) methods.   <strong> Discussion</strong> Both Dehlawi and Garmaroudi are distinguished representatives who, through their engagement with Qur’anic translation, have contributed to the dynamism and enrichment of Persian literature. In the following, selected verses from various surahs are examined from rhetorical and structural perspectives, with attention to linguistic subtleties, in order to determine how sensitivity to context and structure affects the accurate conveyance of meaning. <strong>Example 1: Surah al-Qadr (97:2)</strong>      ﴿وما أدراک ما لیلة القدر﴾ One of the distinctive Qur’anic stylistic features is the expression <em>“wa mā adrāka”</em>. This construction is a significant element of Qur’anic discourse, often employed to emphasize the عظمت (magnitude) of a subject. It appears twelve times in the Qur’an, consistently indicating the عظمت and importance of the موضوع (subject). Dehlawi: “What has made you know what the Night of Decree is?” Garmaroudi: “What do you know what the Night of Decree is?” From a syntactic perspective, Dehlawi’s translation more closely aligns with the grammatical structure of the original verse. The agreement between the verb and its subject is explicitly preserved. In contrast, Garmaroudi offers a more interpretive rendering and leaves the subject of the verb <em>adrā</em> implicit. Consequently, his translation does not fully convey the intended nuance, which emphasizes the mediating cause that informs the مخاطب about the Night of Decree. This nuance is preserved in Dehlawi’s translation but overlooked in Garmaroudi’s. <strong>Example 2: Surah al-Baqarah (2:264)</strong> )... علیه تراب فأصابه وابل ...( This verse likens charity accompanied by harm or reproach to a barren surface. Dehlawi: “Upon it is a small amount of dust.” Garmaroudi: “Upon it lies dust.” Here, Dehlawi’s precision becomes evident. The word <em>turāb</em> appears as an indefinite noun, which inherently conveys a sense of smallness or insignificance. Dehlawi reflects this nuance in his translation, whereas Garmaroudi and many other translators overlook the descriptive implication embedded in the indefinite form (Shaykh al-Hind, 1393: 44; Ravaqi, 1402: 1/9). <strong>Example 3: Surah Quraysh (106:1)</strong>     ﴿لإیلاف قریش﴾ Dehlawi: “For the gratitude of the familiarity granted to Quraysh” Garmaroudi: “For the cohesion of Quraysh” Garmaroudi interprets <em>īlāf</em> as cohesion (i.e., the continuity of winter and summer journeys). According to this interpretation, the reason for worship would be the continuity of these journeys. However, based on Dehlawi’s translation, the cause relates to the نعمت (blessing) of familiarity, which encompasses both prosperity and امنیت (security). This interpretation is supported by Surah al-Anfal (8:26): <em>“snatched away from around them”</em>. Dehlawi demonstrates particular attentiveness to this contextual nuance.   <strong> Conclusion</strong> This study demonstrates that although both Dehlawi’s and Garmaroudi’s translations are distinguished and stylistically significant, each reflects a distinct interpretive approach in conveying meaning. The findings indicate that Dehlawi pays meticulous attention at the rhetorical level to secondary meanings, contextual coherence (siyāq), grammatical variations (i‘rāb), and subtle morphological and syntactic features. This is particularly noteworthy given his geographical distance from the primary centers of Arabic scholarship in the subcontinent, underscoring the depth, precision, and breadth of his studies in Arabic literary sciences, Shari‘ah, and Qur’anic exegesis. In contrast, Garmaroudi’s translation is fluent and accessible, sparing the reader from linguistic complexity. However, in terms of grammatical and rhetorical precision, it is, in certain instances, less exact when compared to Dehlawi’s translation.   <strong> References</strong> The Qur’an  Al-Bashri Library. Alusi, Abu al-Fadl Shihab al-Din al-Sayyid Mahmoud, (1415). The Spirit of the Meanings in the Interpretation of the Great Quran and the Seven Seconds, first edition, Beirut: Dar al-Kuthub al-Ilmiyah. Al-Zamakhshari, Abulqasem Jarallah Mahmoud bin Omar, A(Bita) Sass al-Balagha, Research by Abdul Haim Mahmoud, Publications of Islamic Propaganda Office, Qom Ansari Masoud, (1392) Nedayi Islam Quarterly, 16th year, issue 94. Beizawi, Naseruddin, (1418). Tafsir al-Baydawi, first edition, Beirut: Dar Ihya al-Trath al-Arabi. Bukhari, Muhammad bin Ismail, (1437). Sahih al-Bukhari, 1st edition, Pakistan. Darvish Muhyiddin bin Ahmed Mustafa Arabization of the Qur'an and exponent. of al-Irshad for university affairs - Homs - Syria, (Dar al-Imamah-Damascus-Beirut), (Dar Ibn Kathir-Damascus–Beirut). Dehlavi Shah Waliullah, (1989), Translation of the Holy Quran, Noorani Library, Peshawar, Pakistan. Dervish, Mohiuddin bin Ahmed Mustafa, (1415). Arabicization of the Qur'an and the statement, 4th edition, Damascus: Dar Ibn Kathir, Damascus, 1: 4th, 1415 AH. Garmarodi, Seyyed Ali Mousavi, (1383), translation of the Holy Quran, first edition, Qom: Qadiani Publications. Ghasemi, Mahmoud Masoud Alam, (1381), the biography of Shah Waliullah Muhaddith Dehlavi, translated by Abdullah Khamsh Heravi, first edition, Torbat Jam: Sheikhul Islam Ahmadjam Publications. Ibn Khalwiyyah. Hossein bin Ahmad, (1368). Arabs 30 Surah Man al-Qur'an, Third edition, Tehran: Ahmadi Printing House. Ibn Manzoor, Muhammad bin Makram bin Ali, (1414). Lisan al-Arab, third edition, Beirut: Dar Sader. Khazan, Aladdin, (1415). Labab al-Taawil fi ma'ani al-Tanzil, first edition, Beirut: Dar Ihya al-Tarath. Khorramshahi Baha al-Din, (1385), Tarjuman Wahi Magazine, 5th year, issue 1 Khorramshahi, Baha al-Din and others, (1377), Encyclopedia of the Quran and Quranic Studies, Tehran: Dostan Publications. Kosha, Mohammad Ali, (2013). Educational translation of the Holy Quran, Tehran: Ehsan Publishing House. Mahli, Jalaluddin Muhammad bin Ahmed Walsiuti, Jalaluddin Abd al-Rahman bin Abi Kabar, (no date). Tafsir al-Jalalin, first edition, Cairo, Dar al-Hadith. Maraghi, Ahmed bin Mustafa, (1365). Tafsir al-Maraghi, first edition, Egypt: Mostafa al-Babi al-Halabi school. Meybodi Ahmed bin Mohammad, (2008) Translation of the Quran, Tehran: Written Heritage Research Center. Mohammad, Mohammad Abu Laila (2002 AD). Al-Qur'an al-Karim Man al-Manzoor al-Isthraghi, (Critical and Analytical Study), first edition, Egypt: Dar al-Nashr Lal Jamiat. Mustafawi, Hassan, (1360) research on the words of the Holy Quran.    Nadavi, Abulhasan Ali, (1382), History of Invitation and Departure, translated by Mohammad Ebrahim Damani, first edition, Zahedan: Sediqi Publications. Najda Ramadan, (1998). Translation of the Qur'an and works in meanings, Damascus: Dar al-Muhiba for printing and publishing and distribution. Nasafi, Abu Barakat, (1319). Tafsir al-Nasafi, first edition, Beirut: Dar al-Kalam al-Tayyib. Nisaburi, Abu al-Hussein Muslim bin Al-Hajjaj, (1429). Sahih al-Muslam, research and compilation of hadiths: Ahmad Zaha and Ahmad Enayat, Beirut: Dar al-Kutub al-Arabi. Osmani, Mohammad Shafi, (2012). Ma'arif al-Qur'an, translated by Mohammad Yusuf Hosseinpour, first edition, Torbat Jam: Shaykh al-Islam Jam Publications. Qurtubi, Abu Abdullah, Muhammad bin Ahmad Al-Ansari, (1384). Al-Jamae Lahakm al-Qur'an, second edition, Cairo: Dar al-Kutub al-Masriyyah. Rowaqi, Ali, (1402). Holy Qur'an, Tehran: Sokhn Publications. Sarkhsi, Muhammad bin Ahmed B. Abi Sahl, Mabusut, Egypt, Al-Saada Press Sheikh Al-Hind, Mahmoud Hassan, (2013). Translation of the Holy Quran, Tehran: Ehsan Publishing House. Tajm al-Tafsir fi al-Tafseer al-Qur'an l'Ajam, edited by: Najib Mayel Heravi, Tehran Tantawi Mohammad Seyed, (1997). Al-Tafseer al-Wasit for the Holy Qur'an, first edition, Cairo: Dar Nahda Misr for printing, publishing and distribution.      Tehran, publishing and translation company  The Great Islamic Encyclopedia, (1367) London: Berlin Publications. Zaheli, Wahba bin Mustafa, (1418). Al-Tafsir al-Munir fi al-Aqeedah and Shariah and Manhaj, third edition, Damascus: Dar al-Fakr. Zamakhshari, Abu al-Qasim Jarallah Mahmud bin Omar, (1430). Al-Kashaf's Commentary on the Facts of Al-Tanzir and Ayun Al-Aghaweel in the Ways of Ta'awil, 3rd edition, Beirut: Dar al-Marafa. Zarkani, Mohammad Abdul Azim, (2010). Manahel al-Irfan fi Ulum al-Qur'an, Egypt: Dar al-Salam for printing, distribution, distribution, and translation.   شاه ولی الله دهلوی یکی از بزرگترین قرآن‌ پژوهان و فعالان عرصه علوم حدیث در سده دوازدهم هجری در شبه قاره هند به شمار می‌آید. او قرآن‌شناس، حدیث‌پژوه، فقه‌پژوه و متکلم بی‌نظیری در زمانه خود بوده است. یکی از مهم‌ترین شاهکارهای دهلوی، ترجمه فارسی موسوم به "فتح الرحمن" است. اثر گرانقدر دهلوی به سبب ویژگی های خاص خود مورد توجه بسیاری از قرآن‌ پژوهان ومحققان علوم قرآن قرار گرفت. ترجمه قران به زبان فارسی در شبه قاره به جهتی از نظر زبان شناسی فارسی و عربی و به جهتی از نظر میزان تعمق مترجم در مباحث متعلق به علوم قرآن و زیبایی شناسی ادبی حائز اهمیت است. این تحقیق بمنظور تبیین جهات مذکور، به روش توصیفی و تحلیلی و در مقایسه با ترجمه ادبی ومعتبر قرآن کریم اثرعلی موسوی گرمارودی در حیطه ساختاردستوری ورسایی مفهوم انجام گرفته است. یافته‌های تحقیق در تطبیق با ترجمه گرمارودی نشان می‌دهد که ترجمه محدث دهلوی از نظر توجه به لطایف ادبی، در نظر گرفتن ظرائف بلاغی، دقت در ساختارهای صرفی و نحوی، و همچنین رسایی وافاده معانی مقصوده، ترجمه ای قابل اعتناء وممتاز است که هم به جهت دقایق معنایی از قابلیت استناد بالایی برخورداراست . https://jsr.usb.ac.ir/article_9918_60dbb64c7d75eb27c42cda2ff02a9744.pdf

دانشگاه سیستان و بلوچستان مطالعات شبه قاره 2008-5710 18 50 2026 03 21 "Trauma" in the World's Two Great Epic Texts: Shahnameh and Mahabharata With an Emphasis on Women's Trauma «تروما» در دو متن بزرگ حماسی جهان: شاهنامه و مهابهاراتا با تاکید بر ترومای زنان 195 218 9087 10.22111/jsr.2025.50484.2466 FA مهری زینی دانشجوی دکتری زبان و ادبیات فارسی، دانشگاه شهید باهنر کرمان، کرمان، ایران. محمدرضا صرفی استاد گروه زبان و ادبیات فارسی، شهید باهنر کرمان، کرمان، ایران. محمدصادق بصیری استاد گروه زبان و ادبیات فارسی، دانشگاه شهیدباهنر کرمان، کرمان، ایران. Journal Article 2024 12 11 At the beginning of the 20th century, psychoanalysis and Freud's psychological theories gave rise to the idea of the link between literature and psychoanalysis. This was based on the classical texts of literature, the concept of individual unconscious proposed by Freud, and Jung's concept of collective unconsciousness. Widespread psychosis in societies and finding a way to root it out or correct it became the concern of psychologists and writers. This led to introducing the concept of "trauma", which directed minds to a social disorder based on mental abuse. Since then, the term "trauma" has been considered as the intersection of literature, language and psychology,They are full of traumatic events, and the resulting mental injuries are considered as a suitable platform to explain and analyze traumatic events. The present research uses a library method to examine traumatic issues and various types of trauma in the epics Mahabharata and Shahnameh. It comes to the conclusion that "spiritual trauma" or "wounded soul" has a more disturbing and destructive effect on the female than the male heroes of the two epics.abc <strong> Introduction</strong> At the beginning of the 20th century, psychoanalysis and Freud's psychological theories, using classical literary texts, examined the connection between literature and psychoanalysis. Finding a way to solve widespread psychosis in societies and correcting neurosis became the concern of psychologists, and a topic titled "trauma" led minds to a social injury based on psychological abuse. "Trauma" is the intersection of literature, language, and psychology. Epics narrate bloody battles and confrontations between nations, and are full of traumatic events, resulting psychological injuries, and a suitable context for explaining and analyzing traumatic characters. In this research, which aims to examine how the contexts and contexts of trauma in the "Mahabharat", "Ramayana", and "Shahnameh" are similar or different, While examining the types of trauma and the resulting damage to the heroes of the aforementioned epics, it answers the following questions: a) Why are epic texts known as traumatic texts? b) Are there any differences and similarities between the traumas of epic texts? c) Which social strata, and especially the heroes (male/female), are most vulnerable in epics?   <strong>2-Research Method</strong> The present study, which was conducted using a descriptive-analytical and content analysis method, explains and analyzes the importance of interdisciplinary studies by studying psychological texts and the interaction between psychology and literature. By extracting evidence from the two epic texts of Shahnameh and Mahabharata, it examines and compares the similarities and differences of trauma in the most famous epics of Iran and India. In-depth analysis of epics and criticism of behavioral patterns in epics, decision-making, anxiety caused by the presence of warriors and war tactics; also the starting point of wars as factors in creating traumatic scenes are among the issues examined in this research.   <strong>3-Discussion</strong> "Trauma" is any physical or mental trauma and damage (Anvari, Vol.3: 1718, under Trauma) that occurs after the overwhelming experience of a catastrophic and disturbing event. Epics narrate wars and the context of painful events and the destructive psychological consequences that follow. The narrator of the Shahnameh in all three mythological, heroic and historical periods recounts traumatic events, and its axis is the war between Iran and Turan. The Mahabharata, the world's greatest epic, also narrates the war between the two families of the Kauravas and the Pandavas (the war between cousins). Traumatic narratives provide this context for the reader of epic texts so that he can judge the type of personality and how the individual deals with the traumatic issue by understanding the situations. In this study, types of trauma have been examined and the impact of each on the heroes of two epics has been represented: the trauma of separation has been analyzed in the stories of Frank and Fereydoun, Manijeh, Darab and Sita. We witness the destructive effects of the trauma of humiliation in the lives of Nahid, Shaghad and Draupadi. ​​The psychological wound and the resulting reactions are evident in the lives of Jarira and Shakhandi. Social trauma and its impact on society, in the narrative of Jamshid, his passing from the divine and moving away from giving and knowledge, which results in people's dissatisfaction, and a similar example can be seen in the epic of Mahabharata in the devastating effects of Indian society after the war of the Kauravas and Pandavas. In epic narratives, "in accordance with the main theme of the battle for power and wealth, men, warriors and heroes are the main role-players and women are naturally on the margins." (Taheri, 2019: 147) Although the discussion of trauma can be examined in terms of personalities and individuals, regardless of gender, the emphasis of this article is on the psychological wounds of women who, due to their cultural and gender nature, as well as multiple emotions, i.e. mother, wife, daughter, lover, sister, compatriot or warrior with increased emotional burden, endure more suffering. A study of the various methods and actions of the female characters in these two epics shows that each of these characters, when faced with a traumatic event, shows reactions that go beyond the culture of their society. Because some of their feedback and reactions, in addition to being influenced by the specific culture prevailing in their society, are also linked to their individual temperament, personality and psychological characteristics. The depth of the traumatic tragedy, and the way women who have been traumatized react, their severity and weakness, lead to various reactions and consequences: resentment and revenge, neurosis, and even suicide.   <strong>4-Conclusion</strong> Although the epics of Shahnameh and Mahabharata are not specifically written as psychological narratives, we are faced with trauma and its various forms in Shahnameh and Mahabharata. The socio-cultural context and the spirit of nationalism are influential in the level of vulnerability to various types of trauma in the epics of Iran and India. In gender (feminist) trauma, Hindu women in the epic Mahabharata show a surrendering behavior due to the harsh conditions of patriarchy and acceptance of male dominance, to the extent that the incarnations of gods on earth (avatars) also surrender to the conditions when faced with unequal earthly laws (Sita). However, women in the Shahnameh, by holding the realm of rule and kingship (in some cases), national pride, and personality traits, show authoritative reactions when traumatic events occur, and with the emergence of the rage resulting from the trauma, they sacrifice their lives and property, and with deliberate destruction and devastation, they prevent the enemy from reaching their property, honor, and country. Historical and social traumas also show the same results in both epic texts of Iran and India, considering the wide range of people. An examination of the two texts shows that the traumatic aspects of the Shahnameh are more purposeful, systematic, and influential than the Mahabharata.   <strong>5- Resources</strong> Amoozgar, Jaleh, (2008) "Rotation of the characteristics of the heroes of the Shahnameh", Adina magazine, No. 40, pp. 13-12. Aho Qalandari, Raouf, (2018), trauma and traumatic personality, bija, bina. Aydanlu, Sajjad, (2007) several important themes of marriage in Iranian epic literature, (with some comparative examples) Mashhad Journal of Literature and Humanities, No. 160, pp. 1-23.  Etuni, Behzad (2018), "feminist criticism methods and its function in literary works based on mythological epics", Persian language and literature scientific-research quarterly of Faculty of Humanities, Islamic Azad University of Sanandaj, third year, number 7. pp. 1-34. 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Mahabharat: the world's largest ancient system in Sanskrit language, (1358) translated by Mirghiyathuddin Ali Qazvini, known as Naqeeb Khan, researched and corrected by Seyyed Mohammad Reza Jalali Naini and Dr. N.S. Shukla, Tehran: Tahori Library. Namur Motlat, Bahman "Psychoanalytic Criticism from Freud to Moron Kristeva", https://vista.ir Nabai, Mina, Reza Fahimi, (2019) Empathy with a calming skill in Shahnameh, Kav Quarterly.     در آغاز قرن بیستم، دانش روانکاوی و نظریه‌های روان‌شناختی فروید، با استفاده از متون کلاسیک ادبیّات، و طرح قلمرو ناخودآگاه فردی از سوی او و سپس طرح ناخودآگاهِ جمعیِ یونگ، به بررسی پیوند بین ادبیّات و روانکاوی و تبیین این نگاه جدید می‌پردازد. روان‌پریشی‌های گسترده در جوامع و یافتن راهی برای ریشه‌یابی و اصلاح روان نژندی به دغدغة روانشناسان تبدیل می‌شود و موضوعی با عنوان «تروما» یا «روان زخم» اذهان را به سوی یک آسیب اجتماعی بر پایة آزار روحی سوق می‌دهد. و اصطلاح «تروما» فصل مشترک ادبیّات، زبان و روان‌شناسی قرار می‌گیرد. از آنجا که حماسه‌ها روایت‌گر جنگ‌ها و نبردهای خونین رویارویی ملّت‌ها با یکدیگرند وسرشار از رخدادهای تروماتیک و آسیب‌های روحی حاصل از آن بستری مناسب برای تبیین و تحلیل شخصیت های تروماتیک به‌شمار می‌روند. پژوهش حاضر با روش کتابخانه‌ای به تحلیل مسائل تروماتیک در دوحماسه پرداخته، تروما و انواع گوناگون آن‌را در این دو متن حماسی بررسی می‌نماید و به این نتیجه می‌رسد که «ترومای روحی» به صورت فردی یا جمعی بر روی افراد تأثیر گذار است. بررسی انواع تروما: شامل اضطراب جدایی، تحقیر شدگی ،ترومای تاریخی وجنسیّتی در دو متن مزبور بیانگر آن است که مخرب ترین و آزار دهنده ترین تروما، ترومای تحقیر شدگی است. https://jsr.usb.ac.ir/article_9087_3b3d161d8683bc35f62d99474072e63a.pdf

دانشگاه سیستان و بلوچستان مطالعات شبه قاره 2008-5710 18 50 2026 03 21 shanameh ahmadshah darrani: manzume hamasitarikhi nashenakhteh az asr afshari شاهنامه احمد شاه درانی؛ منظومة حماسی تاریخی ناشناخته از عصر افشاری 219 238 9681 10.22111/jsr.2024.49864.2457 FA حمید سارانی دانشجوی دکتری زبان و ادبیات فارسی، دانشگاه فردوسی، مشهد، ایران . فرزاد قایمی دانشیار گروه زبان و ادبیات فارسی، دانشگاه فردوسی، مشهد، ایران. Journal Article 2024 09 18 One of the three main types of Persian epic poetry is the historical epic, which is more than seven centuries old and has continued until now. These works are important from two aspects of historical-political information and stylistic value. One of the epic works of the Afsharia period is the Shahnameh of Ahmad Shah Durrani written by Nizamuddin Ishrat Sialkoti, which is composed in 10476 verses. Since less attention has been paid to the epic works of the mentioned period, it is necessary to investigate and research in this field. Therefore, the aim of this research is to introduce and analyze the content style of Ahmad Shah Darrani's Shahnameh, an unknown historical epic system of the Afshari period. In this article, the researcher has analyzed the text of this Shahnameh in a descriptive-analytical way, using the method of layered analysis, in three linguistic, literary and intellectual layers. In terms of style, the poem shows that in this period, with the decline of the Indian style, a literary return has begun, and the poem was written with a return to the Khorasani style.   <strong> Introduction</strong> One of the three main types of Persian epic poetry (national, religious and historical epics), is the historical epic that is more than seven centuries old and has continued until now. These works are important from two aspects of historical-political information and stylistic value. One of these epic works is the Shahnameh of Ahmad Shah Durrani, which was written in 10,476 verses by Nizamuddin Ishrat Sialkoti (known as Ferdowsi Thani) in the 12th century about the events and wars of this king. Until today, no independent research, with a literary approach, has been published about this system. However, due to the importance of the text in the history of Afghanistan-Pakistan and the position of Ahmad Shah Durrani, whom some people today call him as the father and founder of Afghanistan, the only photographic version of this poem, due to the effort and introduction of Seyyed Faizul Rahman Raed Qureshi in Afghanistan during the Republic in 750 The page has been published (2021/2019; unpublished). This article introduces, examines the style and content of this Shahnameh in a descriptive and analytical way. Considering that Sialkoti was the most prominent epic poet of this era and according to his contemporaries, he was Ferdowsi of his era, knowing his poems is of great importance in analyzing the evolution of Persian epic poetry in this period, which was the time of transition from the Indian style to the school of literary return. Due to Nader's conquests and his generals, the spirit of epics and, as a result, of epics, has increased in this period. In this article, in addition to introducing the Shahnameh of Ahmad Shah Darrani composed by Nizamuddin Ishrat Sialkoti, we analyzed the style and content of this unknown work. As a result of this article, the knowledge of the history of Persian literature will increase about the development process of epic writing in the forefront of the return school. <strong> </strong> <strong>2-Research Method</strong> Since only one photographic copy of the system manuscript is available, the manuscript has been corrected by analogical method. In this article, in continuation of the previous research, an attempt has been made to provide a revised and corrected text of the work, which is cited everywhere in this article. Then, based on data extraction from available sources (poetry notes and historical books) and in a descriptive-analytical way, a comprehensive analysis of this historical epic has been tried. To describe and analyze the style of the system, we have analyzed the text in three layers using the "layered stylistics" method. In each layer, we first described the structural elements of that layer, then we examined the role of these elements in the style of the period and the personal style of the poet, and finally we analyzed the content of the ideological layer of the text. With this approach, we have examined the text in three linguistic, literary (rhetorical) and intellectual (ideological) layer.   <strong>3-Discussion</strong> Epic language is a luxurious, archaic language with heavy and old words and strong rhythm. The linguistic layer itself has three smaller layers: phonetic, lexical and syntactic layers. In the phonetic layer, the elements that formed the external and internal music of the poem are discussed. The outer music of the poem is similar to Ferdowsi's Shahnameh, Bahr Matgarb. Puns and phonemes are also important in inner music. Spiritual puns in this work are often compound puns. All kinds of verbal puns are also mainly used in rhymes. The poet has also used repetition of syllables, repetition of words, rejection of al-Sadr, rejection, and images in different positions. In the lexical layer, according to the poet's belonging to the literary school, it is important to imitate the lexical level of Ferdowsi's Shahnameh. Although compared to the Shahnameh, there are more Arabic words in the work. Also, there are many original compositions made with the purpose of praising Ahmad Shah, and colloquial and colloquial words in the text. In the syntactic layer, the most important features include the precedence of the verb over other sentence components and noun rhymes. At the literary level of the work, the artistic creations of the system have been examined, provided that they have stylistic value. These features or It is considered as an example of the poet's personal style, or the transition qualities from one era to another, or the combination of stylistic qualities of two different eras. All of these qualities have been analyzed in two sections: imaginary images and innovative tricks. Sorkhayal in epic language is more simile (Shafi'i Kodkani, 1366: 9). In Shahnameh of Ahmad Shah Darrani, Sialkoti used more perceptible to perceptible similes and singular similes, in most cases he removed the simile in order to observe the brevity in the epic depiction. The most frequent metaphor in the Shahnameh of Ahmadiyya is the metaphor of Makaniyya (recognition) in the form of "metaphorical addition" followed by the metaphor of Masrha. Allusions are also mainly current, which increase the quality of describing war scenes by increasing the brevity and exaggeration of the epic work. Ahmadi's Shahnameh has also strongly imitated Ferdowsi's Shahnameh in Badi Manavi. At the same time, in the literary (rhetorical) layer, from a spiritual point of view, arrays of exaggeration, allusion, assimilation of adjectives, and contradictions have appeared in the text in a way that has given character to the poem. In the intellectual layer, the specific thought and attitude of the author and the ideological level of a literary text are examined. Since this work is a historical epic, the poet's attitude towards history and politics plays a fundamental role in this layer. Because the author of this work was also the author of Naderi's Shahnameh and he praised Nader in Naderi's Shahnameh and criticized him here, it can be said that Darrani's attitude towards the ruling system was not positive and in a political system The absolute dictatorship has praised Mamdouh just to get financial support. The prevalence of selling art to politics in this autocratic culture has been so far, that the poet considers his change of approach as a natural thing and does not express any shame (Sialkoti, 1403: verse number 2 and 80-81). Ahmadi's Shahnameh is a description of the events of Nader Shah's murder, the collapse of Iran and the collapse of the Afshari government, the establishment of Ahmad Shah's government, and the description of his wars in India and Iran, especially the campaign to India and the war with the Indians. He has observed brevity in describing historical events and has avoided mentioning details. In his work, he adheres to the authenticity of historical events and avoids any distortion. One of the characteristics of Ahmad Shah's Shahnameh is its Saqinamehs, which testify to the prevalence of mysticism in Islamic civilization for several centuries before the composition of the poem. After the end of each event, the poet composes Saqinameh, which was written under the influence of Nizami. There are a total of 92 Saqi Namahs in this work. Mentioning Saqinameh is an opportunity for the poet to express his opinions and criticize the issues in his society and time. The themes of Saqinamehs mainly include taking advantage of life, gaining pleasure, aversion to asceticism and pretending and defending pure mystical opinions. He also mentioned a lot about religious beliefs, especially the praise of the Prophet (PBUH). Although this poet is a Sunni, he did not neglect the praise of the Ahl al-Bayt of the Prophet   <strong>4-Conclusion</strong> Ishrat Sialkoti is one of the foremost poets of the period of literary return, and he wrote his Shahnameh in the Khorasani style, but he also shows some elements of other styles in his poetry. In the ideological layer of the poem, rather than expressing his political attitude, the poet has repeated the voice of those in power with a propaganda role. Of course, Sialkoti has expressed gentle and mystical opinions in Saqinamehs, and has sometimes restrained Mamdouh from violence. The religious view of the poet is also very balanced. In terms of style, linguistic and literary level, the poem has average values. The tendency to repeat old epic words, the use of simple Arabic words, the abundance of noun rhymes, the use of the old form of verbs, the presentation of the verb over other parts of the sentence, which increases the strength of epic poetry, are some of the stylistic characteristics of this system. Puns have a special value in the system, which is more specific on the spiritual level, compound puns, and on the verbal level, participle puns. The poet has used Al-Nada a lot in his letters. In verses, the verb precedes the other parts of the sentence, and when it is delayed, it is in the position of the row. At the literary level, there are many sensory similes, current allusions, exaggerations mixed with exaggeration and epic composite images. 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Shahnameh of Shah Ahmad Dorrani, Corrected by Farzad Ghaemi and Hamid Sarani, Mashhad: Honar Hemasi.     یکی از سه گونه اصلی شعر حماسی فارسی، حماسه تاریخی است که قدمتی بیش از هفت قرن دارد و تا زمان حاضر تداوم داشته است. این آثار از دو جنبة اطلاعات تاریخی- سیاسی و ارزش سبک‌شناختی اهمیت دارند. یکی از آثار حماسی دوره افشاریه، شاهنامه احمدشاه درانی سروده نظام الدین عشرت سیالکوتی است که در بحر متقارب و در 10476 بیت سروده شده است. از آنجاکه به آثار حماسی دوره مذکور کمتر توجه شده است لذا بررسی و تحقیق در این زمینه ضرورت دارد. از این رو هدف تحقیق حاضر معرفی و تحلیل سبکی محتوایی شاهنامه احمدشاه درّانی یک منظومة حماسی تاریخی ناشناخته دوره افشاری می‌باشد. محقق در این مقاله به شیوه توصیفی-تحلیلی، با استفاده از روش تحلیل لایه‌ای، متن این شاهنامه را در سه لایة زبانی، ادبی و فکری بررسی نموده است. از حیث سبکی نیز منظومه نشان می‌دهد که در این دوره، با افول سبک هندی، بازگشت ادبی آغاز شده است و منظومه با بازگشت به سبک خراسانی سروده شده است. https://jsr.usb.ac.ir/article_9681_a77432b7a0ba0d2f9ad655caf0306466.pdf

دانشگاه سیستان و بلوچستان مطالعات شبه قاره 2008-5710 18 50 2026 03 21 A study of the common motifs of ancient Iranian art with Buddhist art بررسی نقشمایه های مشترک هنر ایران باستان و هنر بودایی 239 258 10144 10.22111/jsr.2025.39745.2202 FA مجید ساریخانی دانشیار گروه باستان‌شناسی، دانشگاه مازندران، بابلسر، ایران. سیده زهرا بنی هاشمی امام قیسی . دانش‌آموختة کارشناسی‌ارشد باستان‌شناسی، دانشگاه شهرکرد، ایران. علیرضا خواجه گیر دانشیار گروه ادیان و عرفان، دانشگاه شهرکرد، ایران. Journal Article 2021 11 08 India and Iran have always had cultural and artistic exchanges throughout history. Buddhist art is one of them. Buddhism is one of the most important Indian religions that was prevalent in many different regions of Iran, especially the eastern regions, and it has left a great impact on the art of ancient Iran. The aim of the research is to identify the common motifs and to investigate the influence of Buddhist motifs in the art of ancient Iran. The research method is descriptive-analytical and data collection is carried out through documentary studies. The research question is based on what are the common motifs of ancient Iranian and Buddhist art and what elements of Buddhist art influenced Iranian art? And the hypothesis states that common motifs include animal, plant, and geometric motifs and elements such as the lotus flower motif and the location of some reliefs and sculptures have entered Iranian art under the influence of Buddhist art. The results of the research show that elements of Buddhist art were influential in ancient Iranian art in the form of three themes: animals such as elephants; plants such as lotuses; and geometric shapes such as swastikas and wheels (circles),   <strong> Introduction</strong> Throughout history, the land of Iran has always played a role as a bridge between the East and the West. The existence of this characteristic has caused the culture of the land of Iran to influence or be influenced by the cultures of the surrounding regions (Dador and Mobini, 2011: 116-118). One of these cultures is the culture and art related to Buddhism in India. The relations between Iran and India are one of the most important current topics in archaeology, history, culture and art that have long been the focus of researchers, and the presence of these civilizations next to each other has caused a lot of influence and effects (Velaiti, 2008: 90) because the two Iranian and Indian peoples are from the Indo-European ethnic group, and this has caused their mythology, culture and religion to have close ties. In the Achaemenid period, despite the common symbolic motifs (animal, geometric and plant), no influence of Buddhist art is seen. The Seleucid and Parthian periods marked the beginning of the arrival of this religion in the eastern regions of Iran. Due to the religious tolerance and tolerance during the Parthian era, Buddhism was easily propagated in Iran, and this period played an important role in the transmission of Buddhism to neighboring lands, especially China. During the Sassanid period, despite the officialization of Zoroastrianism, Buddhism continued to be prevalent in eastern Iran. Ancient Iranian traditions, along with new Sassanid methods and artistic models from various other regions (especially Syria under Roman rule), penetrated the art of the Bamiyan region and then merged with Buddhist-Indian iconographic traditions (especially the Gupta period in India) and artistic elements taken from the Kandahar style. The combination of all these artistic elements, considering the dominant characteristics of Sassanid art, led to the creation of a native art style called the "Iranian-Buddhist school". The main goal of the research is to identify common motifs and examine the influence of Buddhist motifs in ancient Iranian art (Parthian and Sasanian). The focus of the present research is the artistic relationship between ancient Iran (Achaemenid, Parthian and Sasanian) and India (Buddhist art), with regard to the following question: What are the common motifs of ancient Iranian and Buddhist art, and what elements of Buddhist art most influenced Iranian art? <strong> </strong> <strong>2- Research Method</strong> The research method is descriptive-analytical and the data is the result of documentary studies. Therefore, sources related to the subject were collected and after a thorough study and examination, the desired, citation-worthy and relevant information related to the research subject was extracted. Then, it was categorized into thematic sheets and then the materials were arranged in certain frameworks and finally, by analyzing and comparing them, an attempt was made to answer the research question. <strong> </strong> <strong>3- Discussion</strong> This topic examines the motifs of ancient Iran and Indian Buddhist art; first, common motifs are identified and then classified. Animal motifs: The motifs of animals are among the phenomena that have had an ancient and inextricable link with human life. In general, "animals" have had a very high position in human beliefs and thoughts throughout human history, and the roots of many superstitions, beliefs, rituals, and myths have been related to animals and beasts (Sarikhani, 2019: 79). These motifs include: Horse (especially winged): In ancient Iranian thoughts and myths, it has always been respected and considered a sacred animal and was used in religious rituals to pass through the afterlife (Sharifi and Zargham, 2013: 56). Lion (symbolically has various meanings such as fire, sunlight, victory, summer, bravery, spirit of life, monarchy, courage, wisdom, pride, warmth of the sun, care (Dador and Mobini, 2011: 20). Deer, deer and elephant (were considered symbols of sovereignty, wisdom of kings and moral and psychological strength). Plant motifs: Common plant motifs include trees, lotus flowers and rosettes. Geometric motifs: These motifs include crosses, wheels and circles which were common between ancient Iranian art and Buddhist art. <strong> </strong> <strong>4-Conclusion</strong> Based on the aforementioned evidence, it can be concluded that the common symbolic animal, geometric and plant motifs in Buddhist and Achaemenid art, such as the lotus flower motif, the animal motifs of the horse and lion, and the symbolic motifs of the circle and umbrella, do not indicate the influence of Buddhist art on Achaemenid art. The religious tolerance prevalent in the Parthian period allowed Buddhism to be easily propagated in Iran, and even the Parthians played an important role in transmitting Buddhism to other places, including China. The elephant motifs in Parthian art indicate its connection with Indian and, of course, Kushan art. The stucco paintings in Yazdgerd Castle are in the form of panels with human motifs, each placed in a separate frame, their standing posture with dancing figures is similar to the Butkara relief and the images of Yakshis in the railing of the Baharhut temple in the second century BC. The complex of buildings excavated by Herzfeld on Mount Khajeh in Sistan is reminiscent of Buddhist monasteries in India due to its similarity in topography. Stein has mentioned the remains of the central fortress as the remains of a Buddhist temple. During the Sassanid period, despite the officialization of Zoroastrianism, Buddhism was still prevalent in eastern Iran, and it can be admitted that the Gupta period in India witnessed the formation of an Iranian-Buddhist school of art. The mosaicists of Bishapur were influenced by the sculptures of Gupta art in their works. Buddhist religion and art had an impact on Manichaean beliefs and the surviving Manichaean texts. The close contact between the Manichaeans and Buddhists in Central Asia caused Manichaean art to receive significant influences from Buddhist art. For example, the lotus flower can be cited as an example, which can be seen in most Manichaean paintings. In the Manichaean paintings, there are images of people carved on lotus flowers, and in some other paintings, this flower is carved above the heads of people, which shows the influence of Buddhist art. In one of these paintings, the image of the ruler of Balkh (a Sassanid prince) is seen, whose throne is depicted between columns, in a way that the details of this image reflect the style of Buddhist images in Central Asia. In the carvings of Taq-e-Bostan, the image of a blue lotus flower, over which Mithra, like an image of Buddha, rises, is a sign of the influence of Buddhist art. The image of the lotus flower was considered a symbol of Anahita in the Sassanid period; but the image of Mithra standing on this flower could be an influence of Buddhist art. Regarding the influence of Buddhist art on Sassanid coins, according to existing traditions, Pirouz, the brother of Shapur I, who was nicknamed Kushan Shah, had converted to Buddhism. Coins of Pirouz are on hand with the phrase "Worshipper of Mazda, Gods of Pirouz, Emperor of Kushan." The image of the god seen on Pirouz's coin contains the phrase "God Buddha." 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A study of some of the archaeological findings related to the art of the Achaemenid period in Egypt, 5(10): Journal of Bagh-e-Nazar, 89-104. هند و ایران همواره در طول تاریخ مبادلات فرهنگی و هنری داشته‌اند. هنر بودایی یکی از آنهاست. آیین بودا از مهم‌ترین ادیان هندی است که در بسیاری از نواحی مختلف ایران؛ بخصوص، نواحی شرقی رواج داشته و بر هنر ایران باستان تاثیرات بسزایی برجای گذاشته است. هدف پژوهش مشخص کردن نقوش مشترک و بررسی تأثیر نقشمایه‌های بودایی در هنر ایران باستان است. روش تحقیق توصیفی- تحلیلی و گردآوری اطلاعات به شیوه مطالعات اسنادی انجام پذیرفته است. سوال پژوهش مبتنی بر آن است که نقشمایه های مشترک هنر ایران باستان و بودایی کدامند و چه عناصری از هنر بودایی بیشتر بر هنر ایرانی تاثیر گذاشت؟ و فرضیه بیانگر آن است که نقشمایه های مشترک شامل نقوش حیوانی، گیاهی و هندسی است و عناصری مانند نقش گل نیلوفر و محل قرارگیری برخی از نقوش برجسته‌ها و مجسمه‌ها به تاثیر-پذیری از هنر بودایی وارد هنر ایران شده است. نتایج تحقیق نشان می‌دهد که عناصر هنر بودایی در قالب سه موضوع حیوانی نظیر فیل؛ گیاهی مانند نیلوفر و هندسی مثل سواستیکا و چرخ(دایره) و همچنین ترجیح ایجاد نقوش برجسته(تاق بستان دوره ساسانی) و مجسمه(غار بیشاپور) در غار در هنر ایران باستان موثر واقع شده است. https://jsr.usb.ac.ir/article_10144_0242e3a7b17f59202265e32b031ac28c.pdf

دانشگاه سیستان و بلوچستان مطالعات شبه قاره 2008-5710 18 50 2026 03 21 Investigation and analysis of the role of blessed objects in the cultural policies of the Deccan during the Qutb Shahian era (918-1098 AH) بررسی و تحلیل نقش اشیای متبرک در سیاست‌های فرهنگی دکن عصر قطب‌شاهیان(1098-918ه‌ق) 259 276 8981 10.22111/jsr.2025.46908.2382 FA مسلم سلیمانی یان دانشیارگروه تاریخ، دانشگاه سیدجمال‌الدین اسدآبادی، همدان، ایران.(نویسنده مسئول) نادر پروین دانش‌آموخته‌دکتری تاریخ ایران دوره اسلامی‌ دانشگاه رازی کرمانشاه، ایران. زلیخا امینی استادیار گروه تاریخ ، دانشگاه سیدجمال‌الدین اسدآبادی همدان، ایران. Journal Article 2023 10 10 The Qutb-Shahis or Golkandah Dynasty were the descendants of the Qaraqoyunlu of Iran, who established a Shiite dynasty in Hyderabad in the Deccan region of southern India, which lasted from 918 to 1098 AH. In order to spread the Shia religion in the Deccan, the Qutb-Shahis adopted a kind of cultural policy using sacred Shia symbols. The current research tries to answer this basic question, inspired by the theory of cultural politics and the descriptive-analytical method: How can the connection between blessed objects and cultural policies in the direction of the expansion of Shia religion in Deccan and Hyderabad be explained?<br />The results of the research show that sacred Shiite symbols had a constant presence in the devotional practices of Deccan Shiites during the Qutb Shahian period. Relying on appropriate and dramatic cultural policy as well as the discourse of cultural identity, the Qutbshahs combined the blessed and holy objects of the Imams and Ahl al-Bayt in the Alams and used them in order to strengthen the social and cultural identities specific to Shia and the degree of protection and necessity. They used the identity of the Shia community in Deccan and Hyderabad and by symbolizing these holy objects, they <strong> Introduction</strong> Cultural policy can be considered a wide range of activities that governments carry out in the field of culture. A set of activities that governments understand the need to support and in this regard, they provide a picture of the components of culture and civilization and also support and support various cultural institutions, classes and objects. This is the product of political choices among a wide range of potential forms and different levels of support that rulers provide. In this analytical form, cultural policy is only a tool that rulers allocate as a set of specific actions, organizations and choices. (Gray.2010:214-215) The importance of adopting cultural policy is mainly in order to gain the legitimacy of rulers and institutionalize the discourse of cultural policy among the masses of societies. This is more evident when rulers with a minority religion rule over large masses of different religions; In some cases, they may have biological roots elsewhere. One of the governments that fits the above definitions is the Qutb Shahis (1098-918 AH). The rulers of this dynasty, considering the diversity of their subjects under their rule and the existence of religious and political opponents and rivals in India, including the Babur government and other local Indian governments, needed to adopt a cultural policy in the spread of their favorite religion, Shiism. Therefore, to promote Shiism in their ruling region, the Deccan and Hyderabad, they used Shiite symbols well to strengthen Shiism among both their supporters and opponents. These symbols included: sacred objects and relics, tombs and their accessories (zarih, coffin and ta'ziyya), war flags (alam), burial utensils (nakhl), holy steps and handprints, wall hangings, votive objects, amulets and Ashurakhaneh. The present study is based on the assumption that the cultural policy of the Qutb Shahs in India played a decisive role in consolidating Shia political life. In fact, rulers, by adopting cultural policies, follow social changes and political conditions over time, and on the other hand, symbols, interests and views of the people also need to change over time. Since symbols and their impact on the attitudes, feelings and perceptions governing political behavior in any society are not a mass of purely coincidental matters, but rather represent patterns of compatibility that are proportionate and mutually reinforce each other; on this basis, it has been observed that there is a relationship between the degree of interconnectedness of sacred objects and cultural policies in the Deccan during the Qutb Shahs, which shows itself as a representation of religious identity; In such a way that the greater the representation of religious identity by the symbols and sacred objects produced, the greater the radius of influence and legitimacy of the governments, the preservation and survival of the political system, the stability and increase of their power for important decision-making in the country. On this basis, the cultural policy of the Qutb Shahi sultans in supporting the Shiite religion was based on the optimal use of sacred Shiite symbols and the development of Shiite worship, literature, memorial and visual rituals in the Deccan and Hyderabad, so that by relying on this policy, the main approach of this dynasty can be called cultural. <strong>1.1. Research methodology</strong> The authors of this study aim to study and examine the role of sacred objects in the cultural policies of the Deccan during the Qutb Shahi era (1098-918 AH). First, they discuss the impact of the role of sacred objects in the conditions of the time. Then, by evaluating the reports of the events and incidents described, they examine the style and characteristics of historiography and its place in the cultural policies of the Deccan during the Qutb Shahi era and draw conclusions from it. Given the nature of the research, the research method is descriptive-analytical. This study attempts to understand the main aspects of the political, religious and social life of this period through the study and examination of the role of sacred objects in the cultural policies of the Deccan during the Qutb Shahi era (1098-918 AH) through a conceptual and methodological understanding of its reports.   <strong> Discussion</strong> The first use of Shiite sacred symbols and environmental objects dates back to the lives of the prophets and the pure Imams, who used them to try to culturalize and socialize the masses of the people. The pure Imams used sacred objects, including swords, robes, books, etc., to express their political power and authority (Sheikh Mufid, 2/27, 1392). According to the Shiite text, the ownership of these objects was rightfully attributed to the Imam, who considered it an asset that increased his authority, which was a symbol of divine favor and mercy on his rule. Displaying a sacred object in the public domain, especially items belonging to the Prophet, such as his robe and sword, as well as the place of prayer and the Prophet's (PBUH) footsteps, was a symbolic display of the earthly power of the Imams as the sacred trust of God, allowing them to identify themselves as descendants of the true Imams or Prophets and to confirm the legitimacy of their rule (Shaykh Mufid, Beta, 2/157). Most sacred objects in Shia Islam are physical and include items and pieces of clothing, horseshoes, swords, armor, chains and shackles, and books. These items are described as sacred by implication because they were worn or owned by specific individuals from the Ahl al-Bayt. This is also true of the cultural policy of the Qutb Shahis, who used non-physical sacred objects in the Deccan and Hyderabad to create discourse, identity, structure, and implement a proportionate and representative cultural policy among Sunni and Hindu communities. The main idea of ​​the dramatic cultural policy is based on two bases and axes: the magnification of religious and national figures with the general aim of beautifying the dominant social order. Therefore, in this research, the guide to analyzing the cultural policy of the Qutb Shahs in using sacred Shiite symbols and various ceremonies derived from the Shiite religion, including the Ta'ziyya on the day of Ashura, is based on the discourse of appropriate and dramatic cultural policy.   <strong> Conclusion</strong>  Symbols are considered to be among the most important symbols of governments, and any slogan or symbol found on them reflects the cultural policies and tendencies of their owners. Shiite governments are no exception to this. From this perspective, the Qutb Shahi Shiite sultans, who are descendants of the Qaraquyunlu dynasty of Iran, have a special place in adopting cultural policies based on the use of Shiite sacred objects. The findings of the study show that Shiite sacred objects have had a constant presence in their cultural policies. In fact, the Qutb Shahs pursued a proportionate and theatrical cultural policy and identity discourse, namely the holding of various Shiite ceremonies, including Ashura and Muharram, as the central discourse of the Shiite religion, through the display of Shiite sacred objects and motifs, including sacred objects and relics, tombs and their accessories (shrines, coffins, and ta'ziyya), war flags (flags), burial objects (palms), holy steps and handprints, wall hangings, votive objects, amulets, and Ashurakhaneh. They emphasized public support for the arts, media regulation, and the negotiated construction of a cultural identity related to the Shiite nation-state and culture. In implementing a dramatic cultural policy, they resorted to ritual symbolization and exaggeration of Shiite manifestations with the overall aim of embellishing the social order of the inhabitants of the Deccan and Hyderabad, and in this process, they were able to bring to the fore, in the first stage and at a macro level, the basic concepts of identity of a Shiite culture. In the second stage, they shaped its lateral concepts and biases, in the third stage, they gave identity to cultural boundaries, and in the fourth stage, from within it, they presented specific cultural behavior, activities, trends, and policies consistent with and compatible with the main concepts of Shiite discourse   <strong> References</strong> Holy Quran. Abū Mukhnaf, Lūt ibn Yahyā (1398 AH), Maqtal al-Husayn, translated by Mahdi Bagheri Esfandani and others, Tehran, Ilm va Adab. Ishtaryan, Kiumars (1391 AH), An Introduction to Cultural Policy Methodology, Tehran, Sociologists. 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Chi, translated by Asghar Ghahramanpour, Tehran, Ilmi Farhangi.   قطب‌شاهیان یا سلطنت گلکنده،اعقاب قراقویونلوهای ایران بودند که سلسله‌ای شیعی حیدرآباد)دکن( در جنوب هندوستان تأسیس کردند که از سال‌918 تا 1098‌ه‌ق تداوم یافت.قطب‌شاهیان در جهت گسترش مذهب تشیع دردکن،نوعی سیاست فرهنگی با استفاده ازنمادهای مقدس شیعی اتخاذ کردند. تحقیق حاضر می‌کوشد با الهام از نظریه سیاست فرهنگی و روش توصیفی-تحلیلی به این پرسش اساسی پاسخ دهد که: به هم‌پیوستگی اشیای متبرک و سیاست‌های فرهنگی درجهت گسترش مذهب تشیع در دکن و حیدرآباد چگونه قابل تبیین است؟ <br />نتایج تحقیق نشان می‌دهد که نمادهای مقدس شیعی حضوری همیشگی در اعمال عبادی شیعیان دِکَن در دوره قطب‌شاهیان داشته است. قطب‌شاهیان با اتکا به سیاست فرهنگی متناسب و نمایشی و همچنین گفتمان هویت-بخش فرهنگی، اشیای متبرک و مقدس ائمه و اهل‌بیت را در عَلَم‌ها ترکیب کردند و آنها را در جهت تقویت هویت‌های اجتماعی و فرهنگی مختص شیعی و درجهت محافظت و ضرورت هویت جامعه شیعی در دکن و حیدرآباد به کار بردند و با نمادسازی آیینی از این اشیاء مقدس، در سطحی کلان، مفاهیم اساسی هویتی فرهنگ شیعه را به منصه ظهور رساندند، سوگیری‌های جانبی آنرا شکل دادند،مرزهای فرهنگی راهویتبخشیدند و از درون آن، رفتار، فعالیت‌ها، جریان‌ها و سیاست‌های فرهنگی ویژه‌ای مطابق و سازگار با گفتمان مرکزی(تشیع) و گفتمان محوری آن(عاشورا) ارائه کردند. https://jsr.usb.ac.ir/article_8981_0b391a1683a745048455c4f5820ea9a1.pdf

دانشگاه سیستان و بلوچستان مطالعات شبه قاره 2008-5710 18 50 2026 03 21 Trends and factors associated with child marriage among girls in Indian subcontinent countries روند و عوامل مرتبط با کودک همسری بین دختران در کشورهای شبه قاره هند 277 298 9092 10.22111/jsr.2025.49553.2451 FA الهام شیردل استادیار گروه علوم اجتماعی، دانشگاه سیستان و بلوچستان، زاهدان، ایران. Journal Article 2024 08 13 Child marriage as an anti-human rights behavior has irreparable consequences in the mental, physical, social, and economic dimensions of girls. This study analyzes the rate, trends, and factors related to child marriage using secondary analysis of World Bank and UNICEF data in eight countries of the Indian subcontinent with Excel and Spss software. The findings of this research showed that child marriage is a common problem in the Indian subcontinent. Bangladesh and Nepal have the highest percentage of child marriages, and Maldives, Sri Lanka, and Myanmar have the lowest. The general trend of child marriage in the last 25 years among the eight countries of the Indian subcontinent has downward changes. The highest rate of child marriage occurs in the poor, uneducated, and rural classes. Also, the current research findings indicate that with the increase of the gross national income, human development, fertility, and the reduction of poverty and gender inequality, mutually the social and economic disparities have also decreased. As a result, the number of female child marriages has decreased. Patterns and policies should widely promote the prohibition of marriage before the age of 18 with targeted and supportive interventions for disadvantaged groups. <strong> Introduction</strong> Child marriage is a human rights violation that has irreparable consequences in the emotional, physical, social and economic dimensions of girls’ lives. Child marriage is a marriage performed by a person who has not yet reached the age of puberty or maturity intellectually, emotionally, biologically and psychologically (Fatima, 2023). In countries of the Indian subcontinent, a marriage between two people who have not reached their legal age is called child marriage. Child marriage affects both girls and boys, but it disproportionately and negatively affects the lives of girls, and they are more likely to marry at a younger age than boys, especially in South Asia. Each year, approximately 12 million girls around the world are married as children (UNICEF, 2022). Half of the world’s child marriages occur in South Asia (Sabarmani et al., 2022). More than a quarter of the world’s children (under 18 years of age) live in South Asia, in the countries of Myanmar, Bangladesh, Bhutan, India, Maldives, Nepal, Pakistan and Sri Lanka (UNICEF, 2023). Despite the observed decline in child marriage in South Asia, the practice remains widespread and often high in some areas. This phenomenon is a serious public health and child rights issue, especially in low- and middle-income countries. Early marriage affects the overall health, social health and psychological well-being of girls. Therefore, this study seeks to identify the trends and factors influencing child marriage in countries of the Indian subcontinent. <strong>2- Research Methodology</strong> This study analyzes the rate, trend, and factors associated with child marriage using secondary analysis on longitudinal data extracted from the World Bank, United Nations Development Program, UNICEF in eight countries of the Indian subcontinent. Data were collected over a 5-year period from 1994 to 2019 from national surveys on child marriage and socio-economic indicators of the Indian subcontinent, including eight countries (India, Bangladesh, Pakistan, Nepal, Myanmar, Sri Lanka, Bhutan, and Maldives). Excel and SPSS software were used to analyze the data. The social, demographic, and economic indicators of the countries studied in this study include 6 indicators: poverty line, gross domestic product, human development, gender inequality, fertility, and child marriage. These indicators were recorded by the World Bank, the United Nations Development Program, and UNICEF in various countries and were collected and analyzed during the time periods considered in this study.   <strong>3- Discussion</strong> In this study, the rate and trend of child marriage was examined in the Indian subcontinent for a period of 5 years from 1994 to 2019. The findings of the study show that child marriage is a common problem in the Indian subcontinent. Based on raw statistics of the number of women married before the age of 18, the highest rate of child marriage occurred in India, Bangladesh, Pakistan, Nepal, Myanmar, Sri Lanka, Bhutan, and Maldives, respectively. However, in terms of the ratio of the number of women married before the age of 18 to the population of young women in that country, it can be said that the lowest rate of child marriage was in Maldives, Sri Lanka, and Myanmar, respectively, and the highest rate of child marriage was in Bangladesh and then Nepal. The overall trend of child marriage in the last 25 years among the eight countries has shown downward changes. Maldives has had the highest rate of decrease in child marriage among the countries. Next in order, India, Bangladesh, and Nepal have had the highest rate of decrease in child marriage during the last 25 years. Myanmar and Sri Lanka have shown the lowest rates and little change in child marriage trends in the last 25 years. In the Indian subcontinent, inequality in child marriage is observed based on education, wealth and residence. Child marriage of girls is higher among disadvantaged groups and lower economic classes. And there is a higher rate of child marriage among women with little or no education and poor and rural families. Therefore, cultural and social factors also play an important role in this regard. In many societies, early marriage is accepted as a social norm and girls are encouraged to marry at an early age due to social and economic pressures. Also, the results of the Pearson correlation test show that there is a significant relationship between socio-economic indicators of countries and child marriage. For example, as gross national income, human development, and poverty levels, gender inequality and fertility rates increase, the rate of child marriage also decreases. Based on the results of the correlation test between variables, it can be said that the gender inequality index, human development, and gross national income have the highest correlation with the rate of child marriage in the countries of the Indian subcontinent, respectively.   <strong>4-Conclusion</strong> The results of this study indicate that child marriage is a widespread and serious problem in the Indian subcontinent. In this region, social and economic inequalities strongly influence the trend of child marriage. In fact, the highest rate of child marriage occurs in the poor, uneducated and rural classes, and these girls experience double inequality. A study of the trend of child marriage in the Indian subcontinent showed that a significant decrease has occurred in countries such as the Maldives, India, Bangladesh and Nepal since the 1990s, with the Maldives experiencing the largest decrease. 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Available at: https://databank.worldbank.org/metadataglossary/   کودک همسری یک رفتار ضد حقوق بشر است که پیامدهای جبران ناپذیری در ابعاد احساسی، جسمانی، اجتماعی و اقتصادی زندگی دختران دارد. این مطالعه میزان، روند و عوامل مرتبط با کودک همسری را در هشت کشور شبه قاره هند با روش تحلیل ثانویه داده‌های بانک جهانی و یونیسف مورد بررسی قرار می‌دهد. جهت تحلیل داده‌ها از نرم افزار اکسل و Spss استفاده گردید. یافته‌های این تحقیق نشان داد کودک همسری، یک مسئله شایع در شبه قاره هند است. بیشترین نسبت کودک همسری متعلق به کشور بنگلادش و نپال است و کمترین متعلق به کشور مالدیو، سریلانکا و میانمار است. روند کلی کودک همسری در 25 سال اخیر بین هشت کشور شبه قاره هند حاکی از تغییرات نزولی بوده است. بیشترین میزان کودک همسری در طبقات فقیر، فاقد تحصیل و روستایی رخ می‌دهد. همچنین، یافته‌های پژوهش حاضر حاکی از آن است با افزایش شاخص‌های درآمد ناخالص ملی، توسعه انسانی، باروری، کاهش سطح فقر و نابرابری جنسیتی بطور متقابل نابرابری‌های اجتماعی-اقتصادی کمتر شده و در نتیجه میزان کودک همسری دختران روند نزولی یافته است. از اینرو، الگوها و سیاست‌ها باید به طور گسترده منع ازدواج قبل از 18 سالگی را در کنار مداخلات هدفمند و حمایت‌گرایانه برای گروه‌های محروم ترویج کنند. https://jsr.usb.ac.ir/article_9092_6a4a56a6c0ca6797eaad25a4ff1a4e2c.pdf

دانشگاه سیستان و بلوچستان مطالعات شبه قاره 2008-5710 18 50 2026 03 21 Factors influencing the Taliban's political relations with the neighboring countries of India and Pakistan مولفه های تاثیرگذار بر روابط سیاسی طالبان با کشورهای همسایه هند و پاکستان 299 316 8674 10.22111/jsr.2024.47313.2395 FA محمد علی عابدی دانشجوی دکتری گروه علوم سیاسی، واحد قم، دانشگاه آزاد اسلامی، قم، ایران. علی محسنی مشتقین دانشیار گروه علوم سیاسی، واحد قم، دانشگاه آزاد اسلامی، قم، ایران.(نویسنده مسئول) محمد حسن الهی منش استادیار گروه علوم سیاسی، واحد قم، دانشگاه آزاد اسلامی، قم، ایران. Journal Article 2023 11 28 Given the ongoing developments in the region and the increasing role of the Taliban in political and security scenes, the present study focuses on examining the processes and influential factors on the dynamics of regional relations with this group. The Taliban, as an Afghan group, not only affects the security of Afghanistan but also has a broader impact on the security and stability of the region as a whole, observable in various domains. The Taliban's interventions and influence in Pakistan, particularly in border areas, have added security challenges to the region and affected the stability of this country. On the other hand, Afghanistan's neighbors such as India also have concerns about the impact of the Taliban on regional security, refugees, and the power balance in this area. This article analyzes multiple components that influence the relations of the Taliban with neighboring countries, especially India and Pakistan. Studying the influential components of these relations can contribute to a better understanding of the dynamics and dimensions of the Taliban's relations with their neighbors and serve as an analytical foundation for future studies in this area. <strong> Introduction</strong> In recent years, the South and Central Asian region has faced significant political, security and economic developments. Among the major events that have had a major impact on the region, we can mention the rise of the Taliban and gaining power in Afghanistan. The Taliban is an Islamist group known as the Islamic Movement of Afghanistan, which emerged in the 1990s and under the leadership of Mullah Muhammad Omar in 2000, was able to capture large parts of Afghanistan (Deb, 2021). In a study by Abbaszadeh, the fall of the Afghan government on August 24, 1400 and the re-emergence of the "Islamic Emirate" of the Taliban have been discussed. According to this research, the Taliban, as a social movement, succeeded in creating internal cohesion by emphasizing the element of nervousness based on ethnic (Pashtunism) and religious (Deobandi Salafism) characteristics. This cohesion was formed against the fragmented society and the crisis of authority and efficiency of the Afghan government (Abbaszadeh Marzbali, 2022). The Taliban emerged from a fragmented and chaotic society that had been institutionalized in the absence of a nation-state with a pattern of behavior and national orientation. In fact, discrete society generally refers to a type of society in which social and cultural relations are formed based on specific boundaries and separations. This type of society usually includes separate groups or social classes that act independently of each other and have their own identity. In these societies, cultural, economic, or ethnic differences can lead to social divisions. In the case of social disruption, we can refer to various theories that have investigated this issue. For example, the theories of "social rupture" show that this type of rupture may be caused by economic, political, or cultural factors that cause gaps in society. In this situation, he took advantage of the weakness and corruption of government institutions, which had led to huge dissatisfaction in the society, and used it to mobilize his followers in the conditions of the society's passivity. Thus, the Taliban took power without facing serious resistance. In fact, the reason for the Taliban's success in regaining sovereignty in Afghanistan lies in the symmetry of a strong movement and a weak nation-state (2022, Abbaszadeh Marzbali). These developments have had significant effects on the Taliban's relations with neighboring countries, especially Pakistan and India. Geographically and politically, these two countries share common borders with Afghanistan, and as a result, their relations with the Taliban are of particular importance. After the fall of the 9/11 attacks, the Taliban managed to recapture Afghanistan after their struggle and currently rule the country. The Doha agreement that the Taliban signed with the United States mentions a "new Islamic state", but the Taliban do not want to share power with others and claim that the Islamic Emirate is a model of a state with an Islamic framework and is trying to strengthen this system. Are This group has always emphasized its own interpretation of Islam and the implementation of Sharia law in an exclusive way. After regaining control of Afghanistan, the Taliban sought to establish a central government with full control over political and military affairs, minimizing negotiations with other political and ethnic groups. This approach is due to their belief in their religious and historical legitimacy as the rulers of Afghanistan, which makes them unnecessary for the need of coalition with other political forces. In addition, the Taliban are facing security and external challenges that have made them focus more on internal cohesion and maintaining power, rather than sharing power and partnering with opposition groups. Taliban, although not recognized as a government by any country or international organization, but as the holders of power in Afghanistan, they also follow foreign policy to some extent. After recapturing Afghanistan, the Taliban declared that they would rule the country "with Sharia", not "with democracy" (Anuj, 2024). Therefore, by looking at the former regime of Afghanistan and the foreign policy of the Taliban, we can clearly see the influence of religion on politics. For example, the Islamic Republic of Afghanistan, despite being a member of many international agreements, has explicitly declared that no agreement that conflicts with Islamic laws will be implemented in this country. In the same way, it can be said that the Taliban's foreign policy is also based on the principles of Islamic Sharia and any international interaction and agreement must be in accordance with this religious framework. The second principle of Taliban's foreign policy is to strengthen and stabilize the "Islamic Emirate". The Taliban, as in the 1990s, describe their government system as the Islamic Emirate of Afghanistan and consider maintaining and strengthening the government as the main task of their foreign policy. In the Doha Agreement, which was signed on February 29, 2020, the "new Islamic State" is mentioned. The aim of this article is to comprehensively examine the factors affecting the Taliban's relations with the two countries of Pakistan and India. This article tries to clarify the effect of security, racial and religious interests on the relations between them by analyzing the attitudes and policies of each of these countries towards the Taliban. Due to its neighborhood and historical and religious ties, Pakistan has a complex and variable relationship with the Taliban, in which security concerns and geopolitical issues play a central role. India also looks at the Taliban from the angle of competition with Pakistan and in order to protect its strategic interests in the region. By examining these factors, this article deals with a detailed analysis of their role and influence in the evolution of Taliban relations with Pakistan and India and seeks to clarify the hidden and obvious dynamics of these relations. The final goal of the article is to provide a deeper understanding of the challenges and opportunities in these relationships to lay the groundwork for future analysis in this area and better strategic decisions at the regional level. While the issue of Taliban's political relations with the neighboring countries of India and Pakistan has been investigated in several articles, the innovation of this article lies in providing a comparative and multidimensional analysis of the components influencing these relations. Unlike previous studies that have mainly focused on historical or security aspects, this article tries to provide a more comprehensive picture of the dynamics of these relations by integrating geopolitical, economic, cultural and security components. Also, in this research, an attempt has been made to examine the impact of developments after the return of the Taliban to power in 2021 on regional policies and how this group interacts with India and Pakistan from newer angles. Another innovative look of this article is in examining the role of non-governmental actors and regional economic networks, which have received less attention so far. In this framework, the role of transit projects such as railways and energy lines, which the Taliban use as tools of economic development and diplomacy, is specifically analyzed. This approach makes this article look at the problem from a holistic and interdisciplinary point of view, and in addition to security and historical issues, it also deals with emerging economic and diplomatic effects on Taliban relations with India and Pakistan. <strong>1.1. Research methodology</strong> The research method in this research is qualitative analysis. This method allows us to get to know the factors influencing the relations between Taliban and the neighboring countries of India and Pakistan by carefully examining and analyzing secondary documents and sources. The data used in this research were obtained through the review of previous studies, scientific articles, reports of international and government organizations, as well as the analysis of regional policies related to the Taliban. These sources are considered as secondary data for qualitative analysis. Also, the method of content analysis has been used to identify and extract the main themes related to the Taliban's relations with India and Pakistan.   <strong> Conclusion</strong> This article focuses on the analysis of Taliban relations with India and Pakistan. The main goal of the article is to show the mutual effects between the Taliban and these two countries, which play an important role in determining the political and security directions of Afghanistan and the region. Taliban relations with these two countries have been formed based on a series of historical, security, economic and geopolitical factors. In the case of Pakistan, the Taliban's relationship with this country is ambiguous; Although Pakistan has used the Taliban as a tool to influence Afghanistan in different periods, the increasing power of the Taliban and the nationalism of the Pashtuns are considered a threat to the territorial integrity of Pakistan. On the other hand, Pakistan's central role as a transit route for goods and support for the Taliban in internal struggles has caused mutual dependence between the two sides. On the other hand, instability in Afghanistan is a threat to Pakistan's national security, which strengthens Pashtun separatist groups and extremism. Therefore, despite various conflicts, the relations between Taliban and Pakistan have remained vital due to security and economic needs. On the other hand, Taliban relations with India are more influenced by security and geopolitical considerations. India, as a country that has always supported governments opposed to the Taliban and seeks to maintain regional stability, has concerns about the presence of the Taliban in power. At the same time, India is trying to maintain its influence in the region by using soft diplomacy, development projects and economic ties with Afghanistan. For the Taliban, India, as a major economic and political power in the region, is an opportunity to diversify foreign relations and reduce dependence on Pakistan. As a result, Taliban policies towards these two neighboring countries are directly affected by economic, security and geopolitical factors, and these relations play an essential role in shaping the political and security future of the region. In general, we can conclude that although the relationship between Afghanistan and Pakistan seems fragile and tense, these two countries are historically, geographically, and economically dependent on each other. On the one hand, their long and common border, especially the Durand Line, has always been the source of border conflicts and ethno-nationalist differences, especially among the Pashtuns. However, on the other hand, the economic and security dependence between the two countries has created unbreakable ties. Pakistan plays a vital role in Afghanistan's economy as Afghanistan's most important access route to open waters and commercial markets. At the same time, Afghanistan is strategically important for Pakistan; Because stability or instability in Afghanistan has a direct impact on Pakistan's internal security, especially considering the presence of extremist and terrorist groups. This situation has caused that although the relations between the two countries are tense due to border and political issues, the necessity of security and economic cooperation has brought them to a kind of mutual dependence. Diplomatic issues and long-standing historical problems of Afghanistan, which are rooted in the past, are difficult to solve without a strong solution. The governments of the two countries cannot effectively intervene in these tensions, and for this reason, the people on both sides of the border are deprived of access to their civil and fundamental rights. In addition, the role of the Taliban as the executor of Pakistan's orders and instructions in Afghanistan and their lack of control in solving problems with the people has intensified this campaign. Also, regarding India's relationship with the Taliban, it can be said that India has always shaped its view of Afghanistan from Pakistan's point of view. When Pakistan's influence in Afghanistan has increased or its relations with Afghan governments have become closer, India has repeatedly withdrawn from the scene and its relations have faced tension and deterioration. India uses two types of diplomacy: one through humanitarian aid diplomacy and the other through regional diplomacy. This country provided huge aid to the people of Afghanistan in 2021, and in this regard, it also sent immediate aid to the earthquake victims in Paktika. These efforts show the impact of humanitarian aid diplomacy on increasing cooperation and bilateral relations with the Islamic Emirate. India also uses regional diplomacy to hold meetings and establish common positions with regional countries to play its role in interacting with the Islamic Emirate effectively.     <strong> Discussion</strong> Taliban tries to pursue a neutral and balanced policy among global and regional actors. As seen in the last half century, Afghanistan has become a field of competition between global and regional powers. The Taliban's foreign minister emphasizes in every meeting and conference that their goal is to transform Afghanistan from a field of competition to a field of cooperation. As proof of their policy of neutrality and balance, the Taliban have announced their support for railway projects to connect Central Asia to South Asia and energy transmission projects. The main goal of the Taliban is to restore the diverse interests of different actors to the geopolitics of Afghanistan. However, during the second period of Taliban rule, the Pashtun identity of this group became more prominent, and this led to the increase in terrorist activities of Pashtun separatists in Pakistan, which posed a serious threat to Pakistan's national security and the country's integrity. In addition, Pashtun nationalist factions in the Taliban advocated the creation of a "greater Pashtunistan" and did not recognize the Durand border line, which led to border conflicts. In such an atmosphere, the fact that a large part of the Afghan people consider Pakistan responsible for internal problems has forced the Taliban to adopt an anti-Pakistani stance to gain internal legitimacy. Meanwhile, India has played an important role as a neighbor that always needs a relatively stable Afghanistan free from terrorist threats. Unlike other foreign players, India has no history of military intervention or direct political involvement in Afghanistan and has always focused on public relations and soft power. Due to the increasing geopolitical influence of New Delhi and its long-standing desire to access Central Asian markets through Afghanistan, having normal relations with India has a pragmatic appeal for the Taliban.   <strong> References</strong> Abbaszadeh Marzabali, Mohsen; Talshikolti, Kausar. (1401). The Taliban and the restoration of sovereignty: a strong movement, a weak nation-state. Fundamental and applied studies of the Islamic world, 4(3): 105-130. Anuj, Kumar R. (2024).  Analysing the Impact of the Doha Agreement on Indo-Afghan Relations. In: Singh RK, Singh SK, editors. Emerging Dynamics of India-Afghanistan Relations: Regional Cooperation vs Global Geopolitics. Singapore: Springer Nature Singapore. p. 187-203. Azimi MA. (2002).  Geography of Afghanistan. Tehran: Mohegh. Başaran D. U.S.'s. (2021).  Chaos-Based Leadership Strategy: ISIS Terrorism in Afghanistan. ANKASAM. Available from: https://www.ankasam.org/abdnin-kaosa-dayali-liderlik-stratejisi-afganistanda-deas-teroru. Deb S. (2021).  The Rise of Taliban and Its Security Implications. Journal of Indo-Pacific Affairs, Air University Press. Dehghan, Yadullah; Yazdani, Enayatullah; Kazemi, Mehdi. (2017). Investigating the role and position of Afghanistan in the strategic relations between Iran and India. Subcontinental Studies, 10(34): 166-147. Farhad, Q. H. (2007).  The Afghan National History. Second Edition. Kabul: The Afghanistan Centre at Kabul University (ACKU). Hosseinkhani, Elham. (2011). Pakistan's approach towards local Taliban and Afghan Taliban. Political Science 8(19): 117-142. Jafarifar, Ehsan; Siam Mansoori, Mahin; Bagheri Daulatabadi, Ali. (1402). Examining Pakistan-Afghanistan relations in the light of internal and regional variables (2021-2022). Foreign Policy Quarterly, 37(1): 180-149. Jauhari J. (2012). Karzai Dönemde Afganistan-İran Ilişkileri (Doctoral dissertation, Sakarya Universitesi (Turkey)). Javadi Arjamand, Mohammad Jaafar. (1388). Movements of the Taliban and its influence on the relations between Pakistan, Afghanistan and the United States. Central Eurasian Studies, 2(3). Kadri, Iraj; Sinai, Vahid; Masoudi, Hamid. (1402). Comparison of the attitude of elites of Herat city towards the policies of Iran, Pakistan and India towards Afghanistan. Subcontinent Studies, (): -. Khodaqolipour, Alireza; Mohammad Alipour, Farida; Madras, Mohammadwali. (2019). Pakistan's strategic culture and foreign policy towards Afghanistan. Iranian Journal of International Politics, 9(1): 269-294. Mehrabi, Alireza; Oghtenjad, Mohammad. (2013). Explanatory model of Pakistan's geopolitics in the field of competition and cooperation with the Islamic Republic of Iran (with emphasis on regional role and position). Subcontinent Studies, 6(20): 223-199. Shafii, Ismail; Eiduzai, Naeem. (2012). The role of foreign support in the revival of the Taliban in Afghanistan. Subcontinent Studies 5(16): 126-91.   با توجه به تحولات جاری در منطقه و نقش روزافزون طالبان در صحنه‌های سیاسی و امنیتی، مطالعه حاضر به بررسی فرآیندها و عوامل موثر بر دینامیک روابط منطقه‌ای با این گروه تمرکز دارد. طالبان به عنوان یک گروه افغانی نه تنها بر امنیت افغانستان بلکه بر امنیت و پایداری منطقه به طور کلی تأثیرگذار است که در حوزه‌های مختلف قابل مشاهده است. تداخلات و نفوذ طالبان در پاکستان، به خصوص در مناطق مرزی، به چالش‌های امنیتی منطقه افزوده و پایداری این کشور را تحت تأثیر قرار داده است. از طرف دیگر، همسایگان افغانستان مانند هند نیز نگرانی‌هایی در مورد تأثیرات طالبان بر امنیت منطقه‌ای، پناهندگان، و تعادل قدرت در این منطقه دارند. این مقاله به تحلیل مولفه‌های چندگانه‌ای می‌پردازد که بر روابط گروه طالبان با کشورهای همسایه، به ویژه هند، پاکستان تأثیرگذار هستند. مطالعه مولفه‌های تأثیرگذار بر این روابط می‌تواند به درک بهتر از دینامیک و ابعاد روابط طالبان با همسایگانشان کمک کند و به عنوان یک پایه‌ی تحلیلی برای مطالعات آینده در این حوزه استفاده شود. https://jsr.usb.ac.ir/article_8674_e9de7d0cba212aa35272efa983652bd9.pdf

دانشگاه سیستان و بلوچستان مطالعات شبه قاره 2008-5710 18 50 2026 03 21 The trade of precious and semi-precious stones between Iran and India (with a focus on Khorasan agate) تجارت سنگ‌های قیمتی و نیمه قیمتی بین ایران و هند (با تکیه بر سنگ عقیق خراسان) 317 334 8993 10.22111/jsr.2025.50619.2469 FA سامان فرزین استادیار گروه باستان شناسی، دانشگاه بیرجند، ایران. (نویسنده مسئول) سکینه مرادی بجستانی دانشجوی دکتری پژوهش هنر، دانشگاه هنر اصفهان، ایران. Journal Article 2024 12 30 The trade relations between Iran and India have always been strong, both by sea and land. Historically, monarchs undertook significant actions to beautify their capitals, such as the exploration and extraction of precious and semi-precious stones in their territories. Indeed, the trade of precious and semi-precious stones has been one of the most important commercial ties between Iran and India from the past to the present. The aim of the present research is to explore the relationship between Iran and India regarding the movement of precious and semi-precious stones, particularly the agate from Khorasan. The main question of this study is: How are the trade relations between Iran and India concerning the movement of precious stones, especially the agate from Khorasan? The findings indicate that maritime routes have historically connected the Indian Ocean, the Sea of Oman, and the Persian Gulf through the ports owith Chabahar port currently being significant. The land route has extended from Merv (Khorasan) to Kandahar and then to India. In the past, the trade of precious and semi-precious stones, particularly agate, was transferred from India to Iran; this trade was undoubtedly reciprocal, as at one point in time, turquoise was exported from Khorasan to India. <strong> Introduction</strong> Since the beginning of the Achaemenid rule in Iran, commercial, political, social, cultural and religious relations between Iran and India have been very close, and as a result, both sides have influenced each other through the exchange of ideas in science, philosophy and art (Mawasat and Masoudi. 2010: 53). In addition, trade in precious and semi-precious stones has been established between Iran and India, so that the study of existing sources helps to understand that the two civilizations of Iran and India have been connected to each other through land and sea trade. During the Sasanian period in the sixth century AD, trade between Iran and India, including Ceylon, was by sea, and their ships were constantly traveling on the waters of the Persian Gulf and the Indian Ocean to exchange their goods. So much so that researchers call this exchange a "back-to-back" exchange, known as barter, which existed between Iran and India and its history dates back to the third to the first millennium BC. Precious and semi-precious stones were exported through trade routes from the Indus River Valley to the Iranian plateau, Mesopotamia, Anatolia and Egypt (Badagh Abadi, 1400: 119). The aim of the present study is to investigate the relationship between Iran and India in the field of movement and trade of precious and semi-precious stones, especially Khorasan agate. The research questions are explained as follows. What are the trade relations between Iran and India in the field of movement of precious stones, especially Khorasan agate? From which ports was the trade of precious and semi-precious stones, especially agate, carried out? What is the form of this trade now? Considering that the trade of precious and semi-precious stones is one of the most profitable trades in the world and that Khorasan province is rich in mines rich in precious and semi-precious stones, especially agate mines; Despite the historical background and natural potential, as well as the existence of human resources, and considering the abundant employment generation of this trade, the importance and necessity of this research is evident. Therefore, it is necessary to conduct a more comprehensive research in the field of Khorasan agate mining, processing, and trade to identify existing challenges.   <strong>2- Research Methodology</strong> The present study is considered a basic research in terms of its qualitative approach and descriptive-analytical method, and in terms of its nature. The data were collected based on library resources and field research (interviews and observations). In documentary studies, an attempt was made to identify all written documents and documents that are somehow related to the research topic and to carefully study and reflect on them. In the field studies section, interviews were conducted with people interested in the topic under study, and thoughtful results were obtained.   <strong> Discussion</strong> Currently, the most important center for cutting precious and semi-precious stones is in Khorasan province and in the city of Mashhad. There are many workshops and industrial units active in this field. On the one hand, Mashhad is the most important city close to the Nishapur turquoise and Quchan turquoise mines, as well as the agates of Torud, Ferdows and Qaenat, and on the other hand, it is the most important pilgrimage city for Shiites in Iran. Since most lovers of turquoise and agate stones in Iran buy and use these stones mostly for religious reasons, Mashhad has been a suitable place for the development of this industry and the trade of its products for many years. In Tehran, a limited number (less than ten people) are engaged in the profession of stone carving and cutting multi-faceted gems. In addition to Tehran, convex gems are also cut to a limited extent in the city of Qom (Makaber and Afzal, 2013: 158). As Sadra Yadegari, a jewelry seller in the Kausar Complex in Isfahan, said in an interview: Just as in Mashhad, there is a market named after Imam Reza (AS) where stones are sold and cut, in India, there is a street in Jaipur where precious and semi-precious stones are cut. This street is full of shops and stores that cut and sell stones, and most Indian stone cutters work on this street. In addition, all merchants and traders visit this place to buy and sell stones (Yadegari, 1402). Ata'i, an expert and teacher of stone cutting at a school in Mashhad, says: "The raw agate stone of Khorasan goes to India and is cut there" (Ata'i, 1401). This is while there are skilled agate cutters in Mashhad, as one of the agate cutters says: "I have been working in the profession of agate cutting and teaching this profession for about 53 years" (Gholamian, 1401). Amir Yahi, a professor at Payam Noor University and a seller of precious and semi-precious stones in Isfahan, believes that agate is no longer imported from India to Iran as it was in the past. He says, "In the past, Indian students who came to Qom to study would bring various precious and semi-precious stones to Qom, but since Khorasan agate (Baig agate and South Khorasan agate) has become abundant, Indian agate is not popular in Iran. Even agate is taken from Iran to India (Yahi, 1402). The identification of agate is completely empirical. In the past, Yemeni agate was the most popular and ranked first, and Indian agate was ranked second, but today, the design and color of Khorasan agate is very excellent; of course, it has replaced Yemeni agate in terms of color and design. However, in terms of name and reputation among the common people, Yemeni agate has still maintained its position. Indian students studying in the city of Qom bring precious and semi-precious stones from India on their travels. Often, the pulse of the stone market is in the hands of these people (Yadgari, 1402). <strong> Conclusion</strong> Because of its geographical location, Iran has been a bridge between the East and the West. Iran's trade routes have included land routes such as the Silk Road and sea routes from the Persian Gulf to India and other regions. Iranian ports such as Siraf, Hormuz, and Chabahar have long played a key role in transporting precious stones from India to Iran and vice versa. Khorasan province, especially areas such as Baig and Qaenat, are known as the main centers of agate mining. These mines are of interest to domestic and international markets due to their high quality and variety of colors. In contrast, India, despite having limited agate reserves, has been a leader in the gem cutting and processing industry and has influenced global markets with its processed products. Today, Iran faces challenges in the field of gemstone processing, including a lack of modern technology, skilled labor, and appropriate trade laws. This is while India has been able to capture a significant share of the global market by using cheap labor and advanced gem cutting techniques. A significant portion of Iranian agate is exported to India in raw form and then processed and supplied to global markets, which results in a loss of added value for Iran.   <strong> References</strong> Abrahimi, K., & Zabihi, R. (2009). Promising regions of Iran for exploration of precious stones in studies on precious and semi‑precious stones in Iran and the world. Mashhad: Mo‘alla. Azarpey, G. (1996). Iran and the Silk Road: Art and trade along the highways of Asia. Iran‑Nameh, 54(Spring), 241–264. Babapur, Y. B. (2009). Jawaharnama (abridged from Tansukh‑nameh‑ye Ilkhani by Nasir al‑Din Tusi). Qom: Kosar. Barani, M. A. (2011). An approach to the development of India. In G. Salgi (Ed.), A re‑examination of the situation of India (Conference proceedings). Tehran: Mehr Taban. Badaghabadi, F. (2021). Trade of semi‑precious stones from the Indus Valley with the Iranian Plateau and Mesopotamia (from the third to the first millennium BCE). International Journal of Nations Research, 6(68), 119–145. Barzanuni, M. A. (2011). India: The land of a thousand religions. Edited by G. Salgi. Tehran: Mehr Taban. Pashazanus, H. R., & Ahmadi, F. (2015). Siraf: Iran–China trade in the late Sasanian and early Islamic periods. Iranian Studies Research Journal, 5(1), 49–64. Pourbakhtiari, F., & Bahranipour, A. (2016). The role of Tabriz in the economic prosperity of the Ilkhanid period with emphasis on jewelry trade. Jundishapur Journal, 2(5), 16–36. Jami Al‑Ahmadi, E., Rasa, I., Masoudi, F., & Mousavi Pak, N. (2019). Mineralogy and characteristics of agate from the Bayg mine, Torbat‑e Heydarieh, northeast Iran. Iranian Journal of Crystallography and Mineralogy, 27(1), 47–54. Khamseh, H., & Fallahi Yaroli, Z. (2018). Agate: A gemstone as old as history. In Proceedings of the Second National Conference on Sustainable Development in Archaeology, History and Art of Iran, 1–22. Durant, W. (1999). The history of civilization (6th ed.). Tehran: Elmi va Farhangi. Dowlat, E., & Hosseini Nejad, S. A. (2009). Identification of precious stones in the southern Ferdows region (South Khorasan). Mashhad: Mo‘alla. Zavosh, M. (1969). Mineralogy in ancient Iran. Tehran: Bonyad‑e Farhang‑e Iran. Zeynali, A., & Mobin, A. (2020). Textile trade in the Safavid era with the Ottoman Empire, India, and Russia. Khwarazmi Historical Journal, 30(Summer), 15–35. Academic Graduates Employment Cooperation Organization (ACECR). (2011). Cutting of precious and semi‑precious stones (home‑based occupations). Tehran: Institute of Labor and Social Security. Sarvarizadeh, M. (2017). Study of different types of agate as a gemstone. In Proceedings of the Third National Conference on Geology and Mineral Exploration, 1–8. Seyed Salmasi, S., & Basiri, M. H. (2009). Trade and economic position of precious stones in Iran and the world. Mashhad: Mo‘alla. Sahebi, N. (2016). Study of the mutual influence of Sistan and Baluchestan Province and Afghanistan in the art‑industry and trade of colored gemstones. In International Conference on Jewelry and Gemstones, University of Zabol, Iran, 38–43. Tusi, N. al‑Din. (1984). Tansukh‑nameh‑ye Ilkhani. Edited by S. M. T. Modarres Razavi (2nd ed.). Tehran: Ettela‘at Institute. Fayyaz, H. (1987). General notes on precious and ornamental stones. Roshd Journal of Earth Science Education, 9(Summer), 41–46. Gharaei Rashtkhar, M. (2009). Agate potentials in Khorasan. Mashhad: Mo‘alla. Ghorbani, H. R., Kouhestani, H., & Khosravi, K. (2021). Economic‑political interactions of southeastern Iranian Plateau societies with the Indian subcontinent and Mesopotamia during the third millennium BCE: A case study of gemstone trade. Journal of Subcontinent Studies, 13(40), 213–230. Ghorbani, M. (2009). Study of precious and semi‑precious minerals and stones in Iran: From traditional forms to modern perspectives. Mashhad: Mo‘alla. Karkar, H. (2003). Independent India: The first fifty years. (A. A. Kia, M. J. Nateghpour, & M. Jafari Aghdam, Trans.). Tehran: Aroun. Gandhi, I. (1984). The voice of the people, my faith. (M. Milani [Afsar Kashmiri], Trans.). Tehran: Toos. Ghirshman, R. (1958). Iran from the earliest times to the Islamic conquest. (M. Moein, Trans.). Tehran: Translation and Book Publishing Organization. Special Reports. (2002). Special reports. Chamber of Commerce Journal, 418(February), 56–72. Makaber, A., & Afzal, M. (2013). Iran gemstone working group. Art Research Journal, 1(3), 157–165. Movasat, L., & Masoudi, M. (2010). Guide to trade with India. Edited by R. Tofighi. Tehran: Commercial Printing and Publishing Company. Mousavi Pak, N. (2009). Global trade of precious and semi‑precious stones and Iran’s position in the world market. Mashhad: Mo‘alla. Nehru, J. L. (1959). Relations between India and Iran and other essays. (M. Tafazzoli, Trans). Tehran: Publications of the Embassy of India in Iran. روابط تجاری ایران و هند از طریق دریا و خشکی همیشه پابرجا بوده است. از گذشته سلاطین به منظور زیبا ساختن پایتخت‌های خود دست به اعمال بزرگی همچون اکتشاف و استخراج سنگ‌های قیمتی و نیمه قیمتی در سرزمین خود می‌زدند؛ البته تجارت سنگ‌های قیمتی و نیمه قیمتی یکی از مهم‌ترین روابط تجاری بین ایران با کشور هند از گذشته تا کنون بوده است. رویکرد تحقیق حاضر کیفی، روش تحقیق توصیفی- تحلیلی است و داده‌های بر پایۀ منابع کتابخانه‌ای و تحقیق میدانی (مصاحبه و مشاهده) گردآوری شده است. مهم‌ترین پرسش‌ این پژوهش عبارت است از: روابط تجاری ایران و هند در زمینۀ جابجایی سنگ‌های قیمتی به خصوص سنگ عقیق خراسان چگونه است؟. نتایج تحقیق حاکی از آن است که مسیر‌های دریایی از گذشته دور از طریق اقیانوس هند، دریای عمان و خلیج فارس از طریق بنادر سیراف، هرمز، گمبرون (بندرعباس)، بوشهر بوده و هم اکنون بندر چابهار می‌باشد. مسیر‌خشکی از طریق مرو (خراسان) قندهار تا هند ادامه داشته است. در گذشته تجارت سنگ‌های قیمتی و نیمه قیمتی به خصوص سنگ عقیق از هند به ایران منتقل می‌شده؛ این تجارت مسلماً دو سویه بوده است، بطوری که در برهه‌ای از زمان، فیروزه از خراسان به هند صادر می‌شده است. https://jsr.usb.ac.ir/article_8993_cc8550da6902718bc6373cc894c0ec60.pdf

دانشگاه سیستان و بلوچستان مطالعات شبه قاره 2008-5710 18 50 2026 03 21 Comparative Comparison of Seligman's "Virtue of Humanity" in the Thought System of Rumi and Krishnamurti «مقایسه تطبیقی «فضیلت انسانیت» سلیگمن در نظام اندیشگانی مولانا و کریشنامورتی» 335 374 8705 10.22111/jsr.2024.49982.2461 FA مریم مردانی ورپشتی پژوهشگر پسادکتری زبان و ادبیات فارسی، دانشگاه مازندران، بابلسر، ایران.(نویسنده مسئول) مسعود روحانی استاد گروه زبان و ادبیات فارسی، دانشگاه مازندران، بابلسر، ایران Journal Article 2024 10 14 The virtue of "humanity" along with five other virtues: wisdom, courage, justice, moderation and excellence, was proposed by Martin Seligman for the first time in positive psychology as the six character virtues to optimize the quality of human life. . In the thoughts and teachings of many thinkers and spiritualists from the East to the West, the characteristics of positive psychology can be discovered and revealed. This essay, which was done in a descriptive-comparative way, tries to explain and apply the virtue of "humanity" and its capabilities in the teachings of Rumi and Krishnamurti. The results of the research indicate that these virtues and abilities under its group: love, kindness, social intelligence, can be explained and applied in the teachings of Rumi and Krishnamurti; Meanwhile, the points of difference are also observed in their thought system; Among them: differences in the power of love, using the words of religious elders, and differences in the way people are looked at.   <strong> Introduction</strong> Throughout history, the effort of people of meaning, such as Rumi and Krishnamurti, has been to cultivate human virtues and capabilities by teaching mystical teachings that are related to the human soul and inner self, eliminate and provide a suitable platform for spiritual flourishing. These outstanding teachings are in agreement and harmony with many topics raised in the science of positive psychology. Research in this field can greatly contribute to the mental peace and mental health of people in the society and provide valuable solutions for the treatment of mental needs and mental problems of contemporary people in the path of achieving a meaningful life. Also, by using these mystical teachings and components in the light of the foundations of the new positivist psychology, new results can be obtained and a connection can be established between these two knowledges. The main problem of this research is to investigate and explain Martin Seligman's "virtue of humanity" and its sub-categories: love, kindness, social intelligence in the teachings of Rumi and Krishnamurti. This research aims to answer these questions: 1- What are the points of similarity between Rumi's and Krishnamurti's ideas about the capabilities of humanity? 2- What differences of opinion do Krishnamurti and Rumi have with each other in this field? 3- What is the result of this analysis?     <strong> Research Methodology</strong> The current research, which was conducted in a comparative-descriptive method, aims to address the virtue of "humanity" and its subcategories among the six virtues and capabilities of character compiled by Seligman and his colleagues in positive psychology. Examine them in the works and teachings of Rumi and Krishnamurti. In this essay, after collecting the data in the works of Rumi and Krishna according to the mentioned components, the explanation and analysis of the teachings of Rumi and Krishnamurti according to Seligman's theory has been discussed and finally a conclusion has been reached.   <strong> Discussion</strong> Positive psychology divides the virtues and positive strengths of humans into six groups, which are: wisdom, courage, humanity, justice, temperance and transcendence. Each of these six groups, in turn, has sub-categories (24 in total) which are: creativity, curiosity, open-mindness, love of learning, perspective, bravery, perseverance, integrity, vitality, love, kindness. , social intelligence, citizenship, fairness, leadership, forgiveness, humility, foresight, self-discipline, understanding of beauty, gratitude, hope, Humor and spirituality (see: Seligman, 1400). The virtue of "humanity" along with five other virtues: wisdom, courage, justice, temperance and transcendence, was proposed by Martin Seligman for the first time in positive psychology as the six character virtues to optimize the quality of human life. From Seligman's point of view, the virtue of humanity includes positive traits that are manifested in caring and supportive relationships with others; It means the tendency to care and friendship. The strenghts of the sub-group of humanity are: love, kindness and social intelligence. These strengths  have a large social scope and indicate positive interpersonal traits and are focused on the relationships of one person with another person, not many people (Seligman, 1400: 450). In the thoughts and teachings of many thinkers and spiritualists from the East to the West, the characteristics of positive psychology can be discovered and revealed. Rumi and Krishnamurti have many similarities with each other regarding the virtue of Martin Seligman's "humanity" and its sub-categories: love, kindness, social intelligence, and each of them believes in the value and importance of these human strengths and many guidelines in have this context; However, differences are also observed in the thought system of these two thinkers; Among them: the difference in the division of love into divine and material, the use of the words of religious elders, and the difference in the way people are looked at.   <strong> Conclusion</strong> The findings of the research indicate that in the works of Rumi and Krishnamurti, "the virtue of humanity" has a special place and these two thinkers emphasize the value of humanity's strengths, namely: love, kindness, social intelligence; But in the meantime, some differences are also observed; including: The difference in looking at the subject of love: Rumi divides love into real and virtual love and presents real love as superior to virtual love. He considers the ultimate goal of love to be close to God; He also considers love to have three stages: rawness, maturity and burning; While Krishnamurti does not classify love. Using the words of religious elders: When talking about the strengths of "kindness" and "social intelligence", Rumi tries to increase the effect of his words by using the hadiths of the Prophets (pbuh) and the infallible imams (pbuh). But Krishnamurti condemns following imams or saints and believes that following a person will deprive him of his freedom. The difference in the view of human beings: in general, Rumi's view is "God-centered" and considers the ultimate growth and development of man in obtaining God's satisfaction; While Krishnamurti does not adhere to any religion or religion and his ultimate effort leads to human comfort in this world.       <strong> References</strong> Holy Quran Ahrari, Sedighe; Behnamfar, Mohammad; Rahimi, Seyed Mehdi (1402). "Comparative Analysis of the Theory of "Non-Violence" in the Thoughts of Gandhi and Rumi", Scientific-Research Journal of Subcontinental Researchs, University of Sistan and Baluchestan, 15 (45), pp. 27-44. Anushirvani, Alireza (1401). "Rumi's Conscious Unconsciousness in Divan Shams", Journal of Persian Language and Literature, Yazd University, Year 6, Issue 10, pp. 9-38. Asghari-Mehr, Fatemeh-Soghari; Azar, Amir-Ismail; Zirak, Sarae (1401). "Positivism and Happiness from the Perspective of Rumi and Seligman", Journal of Lyric Literature, University of Sistan and Baluchestan, Volume 20, No. 39, pp. 23-44. Asghari-Mehr, Fatemeh-Soghari; Azar, Amir-Ismail; Zirak, Sare (1389). "Achieving Satisfaction in Rumi's Masnavi with the Approach of Seligman's Positivism Theory", Bi-Quarterly Journal of Interdisciplinary Literary Research, Institute for Humanities and Cultural Studies, Year 4, Issue 8, pp. 1-29. Baharvand, Mohsen; Sepahvandi, Masoud; Heydari, Ali (1401), "Comparison of Examples of Practical Wisdom in Rumi's Sanai'i Poems and Masnavi", Journal of Lyric Literature, University of Sistan and Baluchestan, Year 19, Issue 36, pp. 77-96. Diner D, Oishi S, Lucac, R.E. (2003). “Personality, culture, and subjective well- being: Emotional and cognitive evaluations of life”, Annual Review of psychology, 54, pp: 403-425. Fani Eski, Razieh; Yousef Pour, Mohammad Kazem (1396), “Fields of Application of the Concept of Arrogance in the Mathnavi”, Third Conference on Literary Textual Studies (A New Look at the Works of Rumi), Tehran. GhadiriYeganeh, Shabnam; Azar, Ismail; Zirak, Sare (2012), "A Comparative and Interdisciplinary Analysis of Responsibility in Viktor Frankl's Theology of Metaphysics and Rumi's Masnavi", Journal of Interdisciplinary Studies in Literature, Arts and Humanities, Year 2, Issue 2, Serial 4, pp. 53-80. 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P (1402), Learned Optimism/How to Change Your Mindset and Life, Translators: Foruzandeh Davarpanah; Mitra Mohammadi, Ch. 5, Tehran: Roshd. Seligman, M.E.P & Csikszentmihalyi, M. (2000). “Positive psychology: An introduction”, American Psychologist, 55, pp: 5-14. Tabarsi, Fazl Ibne Hassan (1372), Majma’ al-Bayan fi al-Tafsir al-Quran, translated by Ali Karami, Vol. 10, Qom: Nasser Khosrow. Tabanfard, Abbas; Rasmi, Sakineh (2019), “Analysis of the Positive Emotion of “Mystical Love” in the Spiritual Mathnavi with a Positivist Approach”, Journal of Literary Textual Studies of Allameh Tabatabaei University, Year 24, Issue 85, pp. 112-69. Tabanfard, Abbas; Rasmi, Sakineh (2017), "Analysis of the story "The Arab Dervish and His Wife" in Rumi's Masnavi Based on Seligman's Positivist Theory", Journal of Comparative Literature Research, University of Kerman, Volume 6, Issue 3, pp. 23-43. 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Zamani, Karim (1401), Minagar Eshgh, 20th edition, Tehran: Nei.   فضیلت «انسانیت» به همراه پنج فضیلت دیگر: خردمندی، شجاعت، عدالت، اعتدال و تعالی، توسط مارتین الیاس پیتر سلیگمن، برای اولین بار در روان شناسی مثبت گرا به عنوان شش فضیلت منش، برای بهینه سازی کیفیت زندگی انسان مطرح شد. در اندیشه ها و آموزه های بسیاری از اندیشمندان و معنویان از شرق تا غرب، می توان شاخصه های علم روان شناسی مثبت را کشف و نمایان ساخت. این جستار که به روش تطبیقی - توصیفی انجام شده، درصدد است تا به تبیین و تطبیق فضیلت «انسانیت» و توانمندی های آن در آموزه های مولانا و کریشنامورتی بپردازد. نتایج تحقیق حاکی از آنست که این فضیلت و توانمندی های زیر مجموعة آن: عشق، مهربانی، هوش-اجتماعی، در آموزه‌ های مولانا و کریشنامورتی قابل تبیین و تطبیق است؛ در این میان نقاط اختلافی نیز در نظام اندیشگانی آنان مشاهده می شود؛ ازجمله: اختلاف در توانمندی عشق و اختلاف در نوع نگاه به انسان. https://jsr.usb.ac.ir/article_8705_1b92ac12fce858ae479e42341dfae194.pdf

دانشگاه سیستان و بلوچستان مطالعات شبه قاره 2008-5710 18 50 2026 03 21 Analysis of Utopia and Apocalypse in Iqbal Lahori's Thought and Poetry تحلیل اتوپیا و آپوکالیپس در اندیشه و شعر اقبال لاهوری 375 396 8980 10.22111/jsr.2025.49953.2458 FA فاطمه مفاخری کارشناس‌ارشد زبان و ادبیات فارسی، دانشگاه بین‌المللی امام خمینی(ره)، قزوین، ایران. 0009-0008-2018-7032 رضا چهرقانی دانشیار گروه زبان و ادبیات فارسی، دانشگاه بین‌المللی امام خمینی(ره)، قزوین، ایران(نویسنده مسئول) Journal Article 2024 10 02 By designing Islamic utopia, Iqbal Lahori tried to present a picture of an ideal Islamic society and how to achieve it, and based on his knowledge,He predicted the future of Islamic societies.The present research has tried to analyze the link between these two concepts in a descriptive-analytical way,by analyzing the components of Iqbal's Utopia and also extracting apocalyptic prophecies in his works.The results of the research show that Iqbal's utopia is based on rereading the authentic teachings of Islam,the unity of Muslim nations and a platform for the revival of Islamic civilization.A utopia in which religion has a prominent social presence and is the arrester of a person for the moral passage of life,reason,love, science and religion unite in Ube Utopia and lead a person to happiness.Action and dynamism is the key tothe life of Iqbal's ideal society.This society is the product of the union of people who,based on Iqbal's special humanism, are inheritors of God's will on earth and are responsible for their own destiny. In Iqbal's belief,there is a bright future for the Eastern Muslim societies.In fact, Iqbal's prophecies are inline withthe features of his utopia and are a seal of approval for the realization of his utopia.<br /><br /><strong> Introduction</strong><br /><br />Man has always been thinking about designing an ideal society, a society in which he can actualize his talents. For the first time, Plato drew a plan of his ideal society in the book "Republic". In Islamic culture, Al-Farabi, Ibn Sina and Khwaja Nasir discussed the ideal society in their works, and Thomas More, an English philosopher, tried to introduce his utopia in the book "Utopia".<br />Knowledge of future events and any kind of prophecy about them has always been interesting to man. "Apocalypse" or prophetic revelations is one of the ways to inform about the future. The introduction of prophetic themes into literature has led to the formation of apocalyptic literature. In this literary genre, the author unveils future events. The origin of such prophecies is considered to be the sacred texts and its mission is to give hope (Gorji, 2004: 150). Considering that utopia is an ideal society that will come to pass in the future; any prediction of the realization of this ideal society, which now seems far from reality, can be classified under apocalyptic literature.<br />Iqbal (1256-1317), a social reformer and contemporary poet from Lahore who witnessed the decline of Islamic civilization, seriously proposed the ideal of reviving Islamic civilization in the modern world and used poetry as a means to convey this idea and awaken Islamic nations (Javid and others, 1402: 81).<br />                                     <br />In line with the above verse, numerous poetic evidences extracted from the Divan of Iqbal Lahore, which were cited in the discussion and analysis section, show that Iqbal tries to prevent Muslims from merely imitating the West and to lead them towards self-awareness, accurate knowledge and ultimately the revival of Islamic civilization. Therefore, in his works, Iqbal, while emphasizing spirituality focused on the will of the contemporary Muslim man, has outlined his ideal society and predicted its realization by mentioning some details.<br />In view of what has been said, the main issue of the present research is to discover, extract, and classify the characteristics of the ideal society from his perspective through the examination of Iqbal Lahori's poems. In the next step, by analyzing Iqbal's apocalyptic prophecies, it explains his belief and faith in the realization of this ideal society in the distant or near future by finding answers to the following research questions:<br />What components does the utopia depicted in Iqbal Lahori's poetry and thought have?<br />How is the realization or non-realization of Iqbal's utopia explained in his poetic prophecies?<br /> <br /><strong>2- Research Methodology</strong><br />This article is a fundamental and theoretical research report that, using library resources and descriptive-analytical methods, while delving into the works of Iqbal Lahori, first identifies the components of utopia and extracts the apocalyptic themes in his works. In the next step, it analyzes the connection between utopia and apocalypse in his works and thought.<br /> <br /><strong>3- Discussion</strong><br />The utopian visionary presents a picture of an ideal world in the future, and the apocalypse promises the occurrence or non-occurrence of an event in the future, so both speak of the future. In this utopian prophecy, it is assumed that the good outcome will be for the people of the ideal society, and through this, the spirit of hope is breathed into the prophet's audience, and the audience adjusts their actions in line with the image of the ideal society or the image of the prophecies presented from the future. A study of the works of Iqbal Lahori shows that his prophecies and ideal world present a blissful image of the future of the Islamic world to the audience, injecting hope for the renewed flourishing of Islamic civilization into the disorganized Muslim society.<br />In Javidnameh, Iqbal mentions an imaginary city he calls "Marghuddin", which, considering its characteristics, seems to be a true example of utopia.<br />Citizens of the Margheddin, without the pain of acquisition and education, are connected to a sea of ​​information and knowledge and, without any effort, extract from the light, gold and wire that, considering the symbolic language of apocalyptic works, can be imagined as fulfilled meanings in today's world for the aforementioned matters. In addition, psychological, environmental and social crises also have no place in this promised earthly paradise.<br /> <br /><strong>4- Conclusion</strong><br />Spoken ghazal is a move away from poetic imagination and closer to the prose logic (emotional and imaginative prose) of poetry, and ultimately reaching a dialogue, truth-telling, audience-centeredness, and maintaining the listener's spirits, boldness in using scattered themes, extreme justification and breaking with tradition, showing the poet's psychological freedom and scattered speech more than any other poetic trend, justifying and supporting it. Also, changes such as diversity in tone, narrative-centeredness for expressing feelings, and rupture in semantic context are other characteristics of contemporary spoken ghazal. Characteristics of the spoken ghazal in the structural (linguistic and rhetorical) area: use of everyday interpretable combinations, advancement of the spoken ghazal towards the themes of theological religion, the method of equation and avoidance of eloquent explanation, bringing spoken language combinations inclined to ease of praise and uninterrupted performance of words, maternal and hesitant spoken ghazal, the spoken ghazal emerging from dry and vulgar metaphors and creating similes with an understandable emotional atmosphere, the poet's failure to follow the format and rhyme in the old context due to the influence of the ghazal language from the spoken language, the diversity of the language with a broken structure and a lively content and sometimes lacking artistic value influenced by the spoken language, the use of poetic embellishments far from demonstrating the authority of poetic techniques; And in the content (intellectual) area: the expression of immediate and fleeting emotions and feelings, the avoidance of uniformity of content, truthfulness and realism, the poet's recklessness in expressing romantic states and relationships, the evolution of dialogue and debate between lover and beloved, the multiplication of the quality and amount of feeling and emotion, the presence of living, innate, and subtle words and expressions. 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دانشگاه سیستان و بلوچستان مطالعات شبه قاره 2008-5710 18 50 2026 03 21 Investigation and Analysis of the Myth of Gilgamesh Based on Joseph Campbell's hero's Journey Model بررسی و تحلیل اسطوره گیل گمش بر اساس الگوی سفر قهرمان جوزف کمپبل 397 412 8994 10.22111/jsr.2025.50840.2476 FA لعیا مولوی دانشجوی دکترای زبان و ادبیات فارسی، ادبیات حماسی، دانشکدۀ ادبیات و علوم انسانی، دانشگاه ارومیه، ارومیه ایران. عبداله طلوعی آذر استادیار زبان و ادبیات فارسی، دانشکدۀ ادبیات و علوم انسانی، دانشگاه ارومیه، ارومیه ایران. (نویسنده مسئول) 0000-0002-3127-9388 Journal Article 2025 01 18 The Epic of Gilgamesh is one of the earliest literary works of humanity, recounting the life and adventures of a king named Gilgamesh. Initially a selfish and powerful individual, Gilgamesh faces an existential crisis and a contemplation of death following the death of his loyal friend, Enkidu. In his quest to discover the secrets of immortality, he encounters numerous challenges and trials, each revealing different facets of his character. The main aim of this research is to examine and analyze the Gilgamesh myth according to Campbell's Hero's Journey model, using a descriptive-analytical method. The findings of this research show that the narrative of Gilgamesh fully aligns with Campbell's Hero's Journey framework. From the call to adventure to the return of the hero with wisdom, Gilgamesh undergoes all stages of this model. He begins the journey in search of the meaning of life and immortality. Throughout his journey, he faces various obstacles and trials that ultimately lead him to discover the truth about immortality, realizing that physical immortality is unattainable, and that human legacy, such as wisdom and experiences, holds the true value. This journey culminates in Gilgamesh's return to Uruk, where he passes on his inner wisdom to future generations. <strong> Introduction</strong> The Epic of Gilgamesh is one of the oldest and most prominent literary works in the world, dating back to around 2700 BC. Written on clay tablets in cuneiform script, this epic originated in the ancient land of Mesopotamia and tells the story of the life and travels of Gilgamesh, the king of Uruk. Gilgamesh, who is two-thirds god and one-third human, is initially a selfish and arrogant king, but during his travels he becomes a transformed and conscious character. As one of the first written examples of the hero's journey, the Epic of Gilgamesh provides a suitable basis for analysis based on Joseph Campbell's model. In today's world, rereading these myths can help contemporary man rebuild his connection to identity and the meaning of life. The fundamental question is how can the myth of Gilgamesh be analyzed based on the hero's journey model within the framework of Campbell's theory? This research seeks to not only demonstrate the conformity of Gilgamesh with Campbell's model, but also to analyze why this model continues to be used as a universal model in the study of myths.   <strong> Research Method</strong> This research is considered qualitative in nature and has been conducted using a descriptive-analytical method. Also, the method of collecting information was using written and library sources and the World Wide Web (Internet). <strong> Discussion</strong> According to the descriptions given at the beginning of the Epic of Gilgamesh, his privileged position is quite evident. He lives in a place that is, on the one hand, strong and stable, and on the other hand, next to a sacred temple. This temple well highlights the spiritual and transcendental aspect of Gilgamesh. Next to this sacred space, there is also a grain granary, which is a symbol of blessing and abundance. These two elements, namely holiness and blessing, are considered prominent features of this place. The first stage of the hero's journey corresponds to the starting point of the Epic of Gilgamesh. The hero faces the unknown, and this encounter is a turning point that moves his narrative forward. The invitation to travel here can appear in an internal and hidden form. This invitation is a message that reaches him from the depths of the hero's unconscious and promises change and transformation. Such messages usually manifest in the form of dreams, imaginations, or visions, leading the hero into an unknown path. The invitation can be a physical movement, or a call to inner growth and transformation.   <strong> Conclusion</strong> His return to Uruk at the end of the story, which corresponds to the "return with the treasure" stage of Campbell's hero's journey, is not only a physical return home, but a return to self-awareness and wisdom. Once seeking physical immortality, he has now come to a profound understanding of human nature and its limitations. This inner wisdom, in addition to introducing him as a historical hero, shows that any person can achieve inner growth and transformation through the risky path that Gilgamesh has traveled. This model shows that the heroic journey is still applicable in the modern world and can be observed in the daily life of every person. Human life, similar to Gilgamesh's journey, is full of challenges, crises, and moments of loneliness that ultimately lead to a deeper understanding of existence and the meaning of life. In this regard, Gilgamesh, as an exemplary hero, can be a model for humans to benefit from every failure and obstacle they encounter in life as an opportunity to grow and achieve wisdom and self-awareness.   <strong> Reference</strong> Bahar, Mehrdad. (2002). Research on Iranian Myths, Tehran: Tous. Bastid, Roger. (1996). The Knowledge of Myths, translated by: Jalal Sattari, Tehran: Tous. Bazgir, Nooroddin; Heydari, Ali; Hasani Jalilian, Mohammad Reza; Noori Khatonbani, Ali. (2018). Review and Analysis of the Objectives and Characteristics of Five Spiritual Travelogues (Gilgamesh, Ardavirafnameh, The Myth of Er in Plato, Sira al-Ibad by Sana’i, Divine Comedy by Dante), Literary Text Research. 22 (76): 33-60. Burckhardt, Giyork & Smith, George. (1954). The Epic of Gilgamesh, translated by: Davood Manshizadeh, Tehran: Jajerami. Campbell, Joseph. (2016). The Hero with a Thousand Faces, translated by: Shadi Khosropanah, 7th edition, Mashhad: Gol Aftab. 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A Study on the Myth of Gilgamesh and the Legend of Alexander, Tehran: Markaz. Shabandar, Somayeh. (1999). The Epic of Gilgamesh, translated by: Mahdi Maghsoudi, Mashhad: Gol Aftabgardan. Vogler, Christopher. (2008). The Writer's Journey: Mythic Structure for Writers, translated by: Mohammad Gozar Abadi, Tehran: Minavi Kharad. Zhiran, F. et al. (2003). Encyclopedia of Assyrian and Babylonian Mythology, translated by: Abolghasem Esmailpour, Tehran: Fekr-e-Rooz. هدف اصلی این پژوهش بررسی و تحلیل اسطوره گیل‌گمش بر اساس الگوی سفر قهرمان جوزف کمپبل است که به روش توصیفی – تحلیلی صورت گرفته است. در این‌ پژوهش با سود جستن‌ از کهن‌الگوی سفر قهرمان جوزف کمپبل، به‌ تحلیل‌ و تفسیر حماسۀ گیل‌گمش‌ پرداخته خواهد شد. نتیجه‌گیری پژوهش نشان می‌دهد که روایت گیل‌گمش به ‌طور کامل با الگوی سفر قهرمان جوزف کمپبل هم‌خوانی دارد. از دعوت به سفر تا بازگشت قهرمانِ با حکمت، گیل‌گمش مراحل مختلف این الگو را طی می‌کند. ابتدا با فراخوان به جستجوی معنای زندگی و جاودانگی سفر آغاز می‌کند. در این سفر، با موانع و آزمون‌های مختلف روبه‌رو می‌شود که در نهایت او را به کشف حقیقت جاودانگی می‌رساند؛ جایی که درک می‌کند جاودانگی جسمی، دست نیافتنی است و میراث انسانی، همچون حکمت و تجربه‌ها، ارزشی واقعی دارد. این سفر در نهایت به بازگشت گیل‌گمش به اوروک و انتقال حکمت درونی‌اش به نسل‌های آینده منجر می‌شود. https://jsr.usb.ac.ir/article_8994_37dd172fe1c267601cf0ed3db2c3ca84.pdf