Importance of studying the background of Islamic jurisprudence is not covered for anyone. What nowadays is known as old jurisprudence and rooted in the field of religious canonization is introduced; in fact, a developed form of a system of history which the lessons of previous religions and commons always originated within simultaneous emergence of Islam, as so those installations are excepted from this process. The ignorant jurisprudence that was the same system of current law (even if simple) among the people in the age of pagan Arabs especially in the field of business and always within commons, was the most important historic background formation in the Islamic civilization that identified need assessment and introduced.This article dealing with the etymology of subject, analysis and applied manners and customs of the age, is trying to introduce Arabic ignorant religious jurisprudence studies, the principles and origins to identify it, and eventually the applicable role in religious Islamic jurisprudence and how to use it in the field.

یکی از مسایل مورد بحث نزد فقیهان امامیه، پاکی یا ناپاکی ذاتی انسان مشرک است. آنها می گویند: انسان مشرک، دارای ناپاکی ذاتی است و همانند سگ و خوک نجس العین می باشد، بلکه برخی از آنها در این مسئله ادعای اجماع و حتی ضرورت مذهب را نموده و دلایل متعددی از آیات و روایات برای اثبات ناپاکی ذاتی کافر که شامل انسان مشرک نیز می شود، اقامه کرده اند. در این پژوهش به روش توصیفی – تحلیلی و با گردآوری اطلاعات کتابخانه ای، ضمن بازخوانی کلمات فقها، دلایل یاد شده مورد بررسی قرار گرفته و اثبات گردیده که ادّله یاد شده تمام نمی باشند، دلالت آیات مورد استناد بر ناپاکی ذاتی انسان مشرک تمام نیست، روایات مورد استناد نیز برخی از آنها از نظر سند، مخدوش بوده و برخی از نظر دلالت بر مدّعا تمام نمی باشند، اجماع مورد ادّعا نیز اوّلاً: از نظر تحقق، مشکوک است، ثانیاً: در مسأله ای که این همه آیات و روایات، مطرح است ، این اجماع مدرکی یا محتمل المدرکیة است، که در هر صورت حجّت نیست، بنابراین ادّله ای که اثبات ناپاکی ذاتی انسان مشرک اقامه شده اند، ناتمام و مخدوش می باشند، حال اگر در این مسئله، ضرورت مذهب، وجود داشته باشد ، همان متبع خواهد بود و گرنه دلایل اقامه شده برای اثبات ناپاکی ذاتی انسان مشرک، تمام نمی باشد.

This is a research about pre-islamic Arabic culture and civilization based on the present indications of Arabic language at this period. Therefore, it's necessary to be interpreted theoretical in the first section. At the opening, the origin of Arabic language and people is introduced. Then the antiquity of it's language, it's scripture and the emergence of Arabic "FA TH~ and also the sense of "JAHELIAT' (idiotic) are interpreted. It asks for this question: "How does the understanding of this meaning to all of the people conform to actual reality in this territory?"This searching presents the limit of "Jaheliat" Period, interprets it's religions and sciences at this time. It deepens, with a precision vision, the JAHELE Poem and prose, indicates also the evolution proceeding of poetry perfection and it / S antiquity indicates the societies that were criticizing (he poetry subjects, like our actual academies.In second section, it explains the word dimension of the symbol of culture and civilization in this area, next, presents these two separate sections: the symbol of civilization and the symbol of culture. In the first one, it shows the documentary indications based on philosophy, proverb, speech, etc. indicating sophisticated culture at that age. And the other, ensures us about the existence of an Arabic civilization before Islamic period testifying the present words at that time in connection with the books, the pens, the papers, the economy, the arm, the societies, the instruments, the ships, etc... It is necessary to indicate that, in the and of every section, the general conclusions are presented separately.

In pursuit of identity-oriented demands from society, the movement with roots in the contemporary West has been one of the primary stage directors imposing the official policy of art, especially in academic centers, since the Islamic Revolution. This movement, represented in Iran by Seyed Hossein Nasr, had taken steps to initiate artistic movements before the revolution under the management of Farah Pahlavi's office. After the victory of the revolution, the students and followers of this thought, using the religious and mystical language of the traditionalists, introduced themselves as representatives, claiming the society's demands. They introduced Iran's religion, and in the absence of careful assessment and undervaluation of art by the country's administration, they left a greater impact on the country's art policy compared to its scientific and population size. The determining presence of the adherents of this thought, who are often known as experts and not artists, in the country's political and educational institutions confirms this opinion.According to the traditionalists, the basis of their thought is a set of facts that have an all-encompassing historical and geographical scope. About a century ago, the French philosopher Renégnon created this sect, and then it became a school of theorizing and philosophy of art by Kumaraswamy, a Sri Lankan artist and sage, and Shawan, Lings, Nasr, Palis, etc. The school of traditionalism talks about sacred knowledge and authentic ancient traditions and points to a supernatural, common, and universal truth in the heart of religions and calls it "immortal wisdom or "eternal wisdom." The method adopted by the school of comparative theology is of the contemporary era, and in the Islamic world, it is connected with Sufism and local mysticism. It is also tied to the mysticism of the Far East, which is different from Abrahamic religions. Traditionalists in Iran have theoretical discussion under the title of Islamic art and architecture, and by inventing the terms Islamic art wisdom, religious art, sacred art, and holy art, they have created materials that are poetic, emotional, and far from logical and reasoning, and in certain religious and historical matters, interpretation. They have mixed Islamic art and architecture with self-founded, strange mysteries. Some of the traditionalists became familiar with the form of Islamic art and architecture while traveling to the Arab Maghreb, Egypt, China, and India, relying on the backgrounds they had from Christianity and Judaism, and accepted Islam through Sufi sects. Shawan joined the Shazliyya Tariqat in Algeria. Burckhardt believed in Islam in Morocco, followed the Shazliyyah Tariqah, and joined the traditionalists after meeting Schwan. After familiarizing himself with Eastern teachings and focusing on the East, Guenon deals with the tradition, generality, and general view of Hinduism, Christianity, Islam, and Buddhism. In fact, this range of scholars, relying on the philosophy and mysticism of the great religions of the world such as Christianity, Islam, Judaism, Buddhism, Jain, Taoism, and Shinto, consider them to have a common truth and believe in the inner matter shared by religions. It is obvious that the existing traditions in each of these religions and beliefs have undergone changes and developments, and despite the common points or the common essence, according to the traditionalists (al-hikma al-khalida ), they have gradually gone through tremendous differences. The Islamic Sunnah is different from other Sunnahs according to the text of the Holy Quran and authentic traditions. Looking positively at the activities of Western traditionalists, not much fault lies with them because they got acquainted with Sufi sects and different sects in other countries, and they also experienced the mysticism of the Far East and Hinduism. In a way, they reached the unity of religions, and from the angle of art, architecture, and sanctity, they have told stories based on the appearance of the arts. But how can it be accepted that Dr. Seyed Hossein Nasr, an Iranian Muslim, philosopher, and mystic, endorses these strange and incomprehensible claims and is a disciple of the sectarian and creator of the Marymiya Tariqat? The continuation of the trend of traditionalist thoughts and opinions affected the artistic circles and universities of art and architecture in Iran, and we are still dealing with this problem. Criticism of his opinions will open a window to knowing the truth of the art and architecture of the Islamic era of Iran and the world and highlight the superiority of logic and reasoning over emotions.

Age of Jaheli is known as the age of barbarity and lawlessness, but when one studies its literature generally and its elegies specifically, he can find humanistic qualities and pure humanistic feelings in them. It seems that the great elegists of this period have chosen this specific genre of poetry to express the deep and humanistic feelings of the man. The writer of the present paper concludes that expressing humanistic qualities and feelings can be praised in all ages; even it is the Age of Jaheli.

There is no doubt that fantastic whispers and melodies of love terms, which have found its way into sonnet envelope through the body of Arabic poetry and literature and drew poets' attention ever-increasingly and welcomed by them, were followed by a type of verse that was seriously affected by charming and nice odes recited by well-known literary characters at Age of Jahelid. At the beginning of their verses, by orientation of rising and turbulent waves on the endless shores of emotions and feelings, they lay foundations for sonnet frameworks and prepared platform for change and development in literary attitude of poets at the next periods.Following of sociopolitical and economic developments, the Islamic and Umayyad periods which are considered as turning point in Arabic history, neologism and innovation seemed inevitable in poetic themes including sonnet, so that making effort for creation of modern principles and bases was substituted by adaptation of the pre-accepted principles. Sonnet versifiers in Umayyad era organized their own new principles and introduced sonnet as an independent poetic theme while romantic odes at the beginning of poems were not faded away by inspiration from attribute of power honesty and consolidation against modern branches of poetic frameworks and managed to survive dynamically.