Introduction: Rokniyeh School was one of the largest and most important schools of Yazd during 14th and 15th centuries built in 1324 AD by Seyyed-Rokn-al-Din Abul-Makaram Mohammad Qazi Hosseini-Yazdi. Few remnants of this school have been left behind, known as Seyyed-Rokn-al-Din Mausoleum. This study aims to determine the boundaries and area of the school and to visualize it. Methods: In this study, with the aid of historical sources and aerial maps, as well as the map of old schools of the same era, the possible boundaries and area of the school was determined and illustrated by Adobe Illustrator Version 2020. Also, a model of the school was visualized. Additionally, details about the budget and function of the school’, s clinic (Dar-al-Shefa) and pharmacy (Beit-al-Advieh) was investigated using its historical endowment and other resources. Results: Based on the length and width of the specified space in the west, east and north of Seyyed Rokn-al-Din mausoleum, the area of the school was estimated to be about 4000 to 5000 m2. A view of the school building and movement mechanism of the water clock including its possible water path were illustrated. Conclusion: Rokniyeh School was the most important school in old Yazd, which had different parts, such as a library, mosque, clinic, guest house, monastery, water clock and observatory. Considering the current position of Yazd in higher education of Iran, it is suggested to establish a link between the history and its current position in higher education to inform students and academics about the historical background of higher education in Yazd.

BACKGROUND AND OBJECTIVES: Qawamuddin Muhammad Yazdi is one of the poets of the 9th century (AD 830 A.H.) who left a general collection of poems, sonnets, glosses and sources. The generalities of Qawamuddin Mohammad Yazdi have not been studied from the point of view of stylistics. The main goal of this essay is the stylistic analysis of fifty selected lyrics from his lyricss, in which the stylistic features in the linguistic, literary and intellectual fields will be analyzed and analyzed so that the readers and audiences are familiar with the characteristics and characteristics of Qavamuddin Mohammad Yazdi"s poetry and his lyrics. METHODOLOGY: The study method in the upcoming research is descriptive-analytical approach based on library studies. The scope and statistical community under investigation are fifty lyricss from his collections, the original version of which is available in the central library of Tehran University under the number 1359 F and has been corrected in Elham Moinian"s doctoral thesis. FINDINGS: Qawamuddin Mohammad Yazdi has given his poems by using simple, uncomplicated language, rhymes and melodious lines, consonant and vowel repetitions, puns and special music. Arabic words have received less attention from the poet, and the words are more emotional. At the literary level, the frequency of sensory similes and metaphors is more, and the abundant use of arrays of hints, proportions and contrasts is interesting. At the intellectual level, the poet"s tendency towards love can be observed. CONCLUSION: Our study of Qawamuddin Mohammad Yazdi"s Lyrics showed that the poet has been relatively successful in the three areas of linguistic, literary and intellectual style. Rows are used in a balanced manner in Qawamuddin Muhammad"s lyricsal poetry, and emotional words, noun clauses, complement and object displacement, various types of images, including simile and metaphor, and the theme of love are among the literary and intellectual features of his lyricsal poetry.

Moein Al-Din Moallem Yazdi (The deceased 1387 AD) is a jurist, narrator and historian of Al-Muzaffar (1313-1393 AD), and the author of "Mavaheb-e Elahi« as the canonical source of the aforementioned post-Ilkhanate local government. Due to the vast historical information about some local governments in the 13th century, moral concepts, and literary and cultural affluence, this book deserves idoneous attention. The basic problem of this writing is the representation of Moein Al-Din Yazdi's historiography method, that is, the method of compiling and arranging historical data in writing Mavaheb-e Elahi, which is influenced by things such as the background of the historiography method of that time, the thought system, and the historian's point of view. In the current research, we are faced with the question of what are the characteristics of Moein Al-Din Yazdi's historiography in terms of writing method and basically, these methods used by Yazdi lead to writing chronicles. Has he written analytical and causal history? Employing library sources, the findings of this descriptive-analytical research assert that Yazdi's historiographical method in Mavaheb Elahi is in line with Iranian-Islamic historiography in previous centuries due to many similarities including providential and religious vision as well as the nature of court historiography. What's more, armed with an intelligent system based on historical, doctrinal and political insights, Moein Al-Din Yazdi has worked out an ornate and stilled history that enjoys features such as comprehensive approval of Al-Muzaffar rule, the magnanimity of Muzaffar rulers, praising the position of Muzaffarid Sultan, biased exaggeration towards some figures, attempt to provide historical data relevant to the Qur'anic concepts and religious hadiths as well as depicting geographical and cosmic information alongside analyzing events. Additionally, often including politico-military data, Moein Al-din Yazdi has mainly approached chronology and receded from the cause-effect standpoint. The arrangement method of contents and the order of expressing historical information in Mavaheb-e Elahi is based on the chronological sequence the same as that of common historiography (Hijri-lunar) in the Iranian-Islamic historiographical method.

Teymouri era was the time of a contrast between two emirate and vizier-ship institute. These two institutes and their related views, vizier-ship-based approach and its followers and emirate-based approach led the political and social events in Teymouri era. Among these, the role of authors of Teymouri era in describing, interpreting and explaining two discourses is so important. One of them in emirate-based approach was Molana Sharaf-a-din Yazdi. By studying his work, Zafarname, and by applying Norman Fairclough’s linguistic instruments, we can describe Yazdi’s attitude about emirate-based discourse. In Zafarname, elements of emirate-based discourse, such as militarism and considering Turks, are endorsed, but elements of vizier-ship-based discourse, such as vizier-ship and being an Iranian, are rambled. Results show that it was political condition of Teymouri era that made Sharraf-a-din to support emirate-based discourse. For example, Teymour, as an emir, was present in political events and he paid attention to militarism. Therefore emirate-based discourse, instead of vizier-ship-based one, was supported.

Colonialism has always been a challenge in the East and several wise and capable people, especially poets, have tried to reflect their challenge against this issue in their works. Since Colonialism has different manifestations, challenging it also needs to be multidimensional. Nasim Shomal and Ma’roof Al- Rosafi were two of wise poets who have explained Colonialism for the people of their own land and those of other nationalities. This article comparatively analyzes Colonialism in the poems of these two poets according to the school of Eastern Europe. After discussing the theory of this research, the specific approaches of the two poet’s challenges against Colonialism are explained. Research shows that both poets have similar ways in order to challenge Colonialism. The most important ways are informing people, preventing ignorance, provoking passion in people and explaining their condition, inviting to associate, and opposing Colonialism, returning to the Islamic culture, and criticizing Colonialism in a satiric way.

Wājib al-I’tiqād fīmā yajibu ‘ala al-‘ibād is one of al-‘Allāma al-Hillī’s (d.726/1325) very concise theological works which many commentaries are known to have been written on it. Among these commentaries is one which published as a commentary by an unknown Imāīscholar. The commentary has been wrongly ascribed to some Imāīscholars such as Ibn Fahd al-Hillī Muhann’b. sinā and ‘bd al-Ḥsayn Nīīin the bio-bibliographic sources. This article deals with this issue, proving that the commentary according to Ḥasan b. Muḥmmad b. Rāhid’s version of it, is only written by the Imāīprominent theologian Jalā al-Dī Sharaf shā Ḥsaynīand therefore all the previous hypotheses mentioned concerning its author are false. In this paper also the mentioned edition of Jalā al-Dī Sharaf shā Ḥsaynī’s SharḥWāib al-iʿiqā fīāyajibu ʿlāal-ʿbā is reviewed.

Seyyed Ghotboldin Mohammad Hosseini Neirizi, one of the well-know and important gnostics and philosophers in Safavid dynasty, was born in Neiriz in Fars Province in 1100 A.H. He started his education in his birthplace and then he went to Shiraz to be trained as a student of the great philosopher, Mola Shah Mohammad Darabi.He composed very valuable works in different fields of religion especially in Islamic mysticism.In the present research, I have the opportunity to describe and introduce his valuable literary work ''Alghasidat -al -Allaviat -al - Nahviah. Moreover an attempt is made to briefly explain Allamah Seyyed Ghotboddin's biography and his works.

The rituals related to the tomb of famous believers are among the most important appearances of religious beliefs. The most obvious reasons for the creation of these tombs is respect for the passed away person, hoping that his/her soul benefit from the prayers made by the visitors of the tomb. The symbolic concepts have been applied in the arrays of the tombs of Islamic era, according the Muslim artists’ views have found a spiritual nature. Among the arrays of the tombs, their covers have been provided by the art of weavers and knitters who either have donated their works sincerely or have performed the order of a great person. In Iran, since the Seljuks era, we observe this type of works. By the start of Safavid era another flourishing period was started in the textile production that was very attractive for kings. It was very valuable for them and they supervised on the textile production workshops. In this era the precious cloths and garments were granted to ambassadors and specific persons as present. Cloths had an essential role in the ritual ceremonies, as the king or a senior official’ s passing way were covered by silky and golden cloths. Cloths were used in the normal affairs of the daily life as well. Quran and valuable books were put within the golden cloths and also the important letters were put within the precious or velvet cloths. Grants also were put within bundles of silky cloths. Prayer and amulet were covered within a cloth and in the religious practices such as prayer different cloths were used. Prayer cloth, turbah cloth or the rectangular cloths that were spread in altars, all had been made of beautiful and precious cloths. Also the cloths were used as cover of kings, saints and nobles’ tombs. Some of weavers granted the woven cloths to the sacred tombs as a sign of respect or by order of authorities. Construction of the tomb of Sheikh Safi-ad-din Is'haq Ardabili, one of the mystics of Ilkhani era and the great ancestor of Safavids, that had a mystical status, was very important for Shia Safavids. Visiting the tombs of Imam Ali’ s descendants was very important for Shia dynasties and movements. Hence, the tomb along with a collection of tombs of Safavid elders and of kings and ritual spaces in Ardebil was very important. As in the Safavid era the official religion of the country was twelve-Imam Shia, Sheikh Safi-ad-din Is'haq Ardabili, as a religious support, found a special status for Shia Safavids. They even adopted the name of their dynasty from their ancestor. Ghyathedin, the famous knitter artist of the era, has woven several pieces for the tomb of Sheikh Safi-ad-din Is'haq Ardabili that one of them is more specific. This piece, with an altar pattern, is bold-flower velvet in dark blue in background with a cream colored border that has been woven by Golabatun, Shah Abbasi flowers, arabesque and Khataei patterns and has three rows of border and the main border has a text of preyer for the Fourteen Ma’ soomins by cream-colored Thuluth calligraphy on the dark blue background. The dimension of the cloth during the textile history of the era is rare. It is possible to understand largely the views of this artist that was influenced by the Isfahan though school in creating his works, beyond the social, political and economic backgrounds of the era relying on the Ervin Panoffski’ s iconography theory. In the Safavid era, applying symbolic Shia elements in textiles became a part of the policy of Shia Safavid rulers. This cloth in addition to the respect of the dedication of the one who ordered it, that was probably Shah Abbas Safavi, was taken from Shia beliefs. Its knitter Ghiyathedin Ali Yazdi intelligently utilizing the symbolic and abstract patterns, which always had religious weight in the Islamic arts, has conveyed the spiritual concepts through the pattern and texture of the cloth. This article has addressed to the symbolic themes of the decorative patterns and has interpreted the worldview of the creator of the work and his awareness concerning the Shia school with Ervin Panoffski’ s iconography theory. This work implies the interpretation that has been originated from spiritual rituals such that the knitter knew it and has manifested Velayat, one of the principles of Shia, cleverly in the cloth.