Idris Badlisi (856_ 926 A.H.) was a famous scribe, historian, and scientist of the ninth and early tenth Hegira centuries, contemporary with Sultan Ya'qoob Aq Quyunloo, Iranian Shah Esma'il Safavi, Sultan Bayazid II, the early government of Sultan Saleem I in the Ottoman Empire. His most important and renowned work is H, a book about the Ottoman history.Following the style and literature of works, such as Tarikh-e-Jahangosha by Atamalek joveini, Tarikh-e-Vassaf by Vassaf al-Hazara, Tarikh-e-Mo'eeni by Mo'een al-Din Yazdi, and Tarikh-e-Zafarnameh Teimoori by Mowlana Sharaf al-Din Ali Yazdi, HASHT BEHESHT has a technical and artificial prose. This work includes biographies of the first eight Ottoman kings, beginning with Othman Beig Ghazi and ending with Sultan Bayazid II and Yavooz Sultan saleem. The present article tries to introduce this work, its author, and a few manuscripts.

Edris Bedlisi was a prose writer contemporary with Sultan Agh ghoyonlu and then Shah Abbas Safavi in Iran.  His most important work regarding the Osmani history and his most well-known work among all his works is HASHT BEHESHT.  Both this work and its title are in Farsi.  The prose of HASHT BEHESHT is technical following the style of Jahan Goshai Jovaini and Tarikh Vassaf written by Vassaf al- Hazreh.  It must be mentioned that the manuscript copy of HASHT BEHESHT neither in Iran nor in Turkey has not yet been corrected.  The content of this work includes the biography of eight Sultans from Osmanis’ Sultans beginning with Osman Beygh Ghazi and ending with Sultan Bayazid the second and coming to the throne of Yavouz Sultan Salim.In this article attempt is made based on a number of sources and some manuscript copies of this book to briefly introduce the book, its author, his style, and the prose in the writer’s era.

HASHT-BEHESHT is one of Amirkhosrow’s five Masnavids written in response to Nezami’s Haft-Peikar. By examining the similes in this poem, we found that the similes used by the poet were mostly concepts related to human and his belongings. Since this story has seven main structures and many palaces are described in these masnavi; Therefore, these places are topic. Nature and abstract concepts are sometimes used as image. images included nature, objects, cosmos bodies and animals are highest frequency. In terms of being sensory and intellectual, the highest frequency was related to sensory to sensory similes. In terms of extensive simile, the analogies of explicit similitude  and brief were more used. The poet has used eloquent similes and similes  addition in his stories. In terms of being singular and binding, singular to singular similes are more frequent than others. Beautiful compound similes can also be seen in this story. In evaluating the simile, we came to the conclusion that the similes in this masnavi are mostly singular, reality and non-allegorical. We also examined the combination of simile with other imagery and it was found that simile is combined with rhetorics such as simile, metaphor, allusion, allusineness and mythological concepts and added to the elegance and beauty of similes. In the end, we also pointed out the similes and novel and beautiful combinations used by Amir Khosro in this stoty. Amir Khosro has used almost all types of similes in this poem, and this shows the breadth of the poet's imagination and his ability to create images.

This fact has been proved today that one of the greatest factors of the progress of a nation is its relationship with ethnic groups and other nations. More than anything else, this matter can have the utmost influence on the progress and backwardness of that nation. The 9th and 10th centuries A.H. (15th and 16th A.D.) are of the brightest Islamic culture and civilization in the Ottoman era. Edris Badlisi, the distinguished prose writer of this period of time, was a contemporary of Sultan Ya'gube Agh goyunloo and Shah Esmail Safawi in Iran, and Sultan Bayazid II and beginning of the kingdom of Sultan Salim I in Ottoman era. Edris Badlisi's most important work in the Ottoman history is "The HASHT BEHESHT". The title and the content of the book are in Persian. The prose of the book is artifact and technical, and follows the style of Jahangoshaieh Joweyni and Tarikhe Wassaf from Wassafol Hazra. It should be mentioned that the manuscript of this book – HASHT BEHESHT – has neither been corrected in Iran nor in Turkey. The book is about the biographies of eight Ottoman Sultans which begins from Othman Beyke Ghazi and ends to Sultan Bayazid II and Yawuz Sultan Salim's ascending on the throne. By having some sources and manuscripts of this book at hand (correcting of the manuscript copy was the title of my Ph D thesis) I have tried to briefly introduce the book and its author, cultural elements in the introductions of the first and second heavens from "The HASHT BEHESHT" together with the analysis of those two parts in my essay.

One of the most attractive themes in historiographical studies has always been the historical narrative’s legitimizing function. Here, the present paper purported to examine this subject as reflected in a historical text belonging to 15/9th century, i.e. the HASHT BEHESHT of Sharaf ad-Din Edris Badlisi. The last part of the text is selected to be analyzed for this purpose. The study’s main concern is Badlisi’s primary purpose of writing this text, if it has been merely narrating historical events or there also might trace a legitimizing plot? The study’s approach is discursive analyze and it aims to apply the appropriate methodology efficiently. Moreover, some relevant concepts for discursive analyze and contextual studies such as “otherness”, “marginalization” and “intertextuality” are called for. As the results of the study show, Badlisi through giving a central status to Jihad, consciously did his best to legitimize his Ottoman masters’ new shaped government. The chronological base of his narrative is the political events under sultan Mohammed the conqueror. His narrative, by centralizing the religious concept of Jihad, treat some secular concepts as ethnicity, native country, and the Farrah - e Izadi (divine favor) as marginal and so, his text might be recognized as an efficient tool for legitimizing the new-shaped Ottoman government.

The subject of proportion used in architecture-and on a larger scale in any art work-is a debate having a special status in analytical studies on the history of art. “ golden section” is known as one of the major topics of such debates. It has been given different names during the history of art, and it is generally defined under the ancient and Renaissance art in West. The present paper studies the status of this specific kind of proportion in Islamic civilization. The authors also demonstrate their findings about the manifestation of this proportion in HASHT BEHESHT Palace, Isfahan. Moreover, they attempt to indicate the roots of familiarity with the usage of respective proportion in Muslim world by referring to some first-hand references of Islamic civilization in the fields of mathematics and geometry. The findings of this paper show that the application of golden section in Islamic civilization was independent of the developments of Western Renaissance and golden section had practical theorems in Islamic civilization since 10th and 11th centuries AD.

HASHT BEHESHT (Eight Paradise) is a collection of fables in the Persian literature that was written by Amir Khosro Dehlavi, a 7th century poet. Like Nezami, he has employed seven legends in this work. Fifth legend is about a journey of a curious son of a trader to a phenomenal bath and knowing about its secret is one of these fables that are impressible mystically. In this paper, an effort is being made to study the stages of the journey of the hero of this fable who has been identified here as Salik in the imaginary bath that could be an imagination of Salik himself and hence; open the secrecy. The outcome of this research is that the character in the form of Salik, through his mystical journey come across various and impressible world and utmost acquires a secret that he is unable to expose. As such, he keeps silence and intact his lips from exposing the secret he could get into his hands.

The objective of this paper is to reach the architectural “form” of HASHT BEHESHT palace through its “figure”. In order to share and to be contemporaneous with the past’s valuable architecture, it’s inevitable to study their forms. In doing this, the presence and influence of the factors and facts related to the work’s poetic and artistic form is more tangible than its skeletal form. This article neither claims to record the history, explain and analyze the architecture of the Palace on the desk of artistic criticism, nor is it limited to pure sciences or subjective point of view without any proof. In fact, it tries to share and be contemporaneous with architecture and also attempts, as much as it can, to pay attention and point out to the reality of life. The essence and truth of the architecture of this Palace is not just the objective source and material to be researchable as a concrete material in the hands of the scientists of the pure sciences or in laboratories. In fact, the dissection of mere form of on architecture al work which generates baseless imitations, and researches like those done by materialists about the materials will themselves be the veil to understanding its truth; a veil which has unfortunately become dominant nowadays. Mystery in this architecture along with showing the unity of the components, also leads them toward a “form” beyond the materialistic mold of the structure’s “figure”. In this article form is studied in the way that the mysteries of the elements – such as water, light, time –as well as material, and center have realized a good and perdurable experience in the form of valuable architectures such as HASHT BEHESHT Palace. The mystery of water made a transubstantiation of the material world in allegorical forms and was a sign of God’s reflect and emanation in the universe. Substance, which was like wax in the hands of the form of the artist architect and its supernatural and spiritual concepts, was considered as the structure’s materials and substances in the level of figure. In this Palace, continental parameters of the materials, substances, and natural elements were “manifestation of the truth” and not just as the raw material ready to be extracted with the most efficiency. They were dignified and - in the meantime- controlled, and were exploited by man and his life as well. Light in this environment acted as a cognitive factor in the pursuit of exalting the percept and was animating the various shapes and areas in a spectrum of dark to light. You can not talk about the truth of architecture in these areas without time. The time of these areas was perceived in accordance with the inner understanding of the qualitative content of architecture by the evidence. The connection space of the Palace measured and assessed the surrounding areas as a symbol of the center of the universe and acted as a focus and a destination for its surroundings. These places shared the contemporaneousness with the real life at those times.

In Islamic mysticism, Ibn Arabi's view on the knowledge of man and his levels of existence has a special place. According to his opinion, the universe as a whole and all its manifestations are the manifestation of the one essence of God; Accordingly, the world and the human soul are the result of the Illumination of the Aghle faal, and the soul has levels that are longitudinally related to each other; That is, each of these levels has a higher position than the lower level. According to this view, the soul includes the following levels: Rohe mojjarad, Nafse nateqa (aghle nazari & aghle amali), Nafse heyvani (rohe bokhari) and the Physical body, and among this, the soul, moves this path every time in order to communicate with the body. By looking at the fourth story of Amir Khosrow Dehlavi's book HASHTabhesht, its secret and symbolic deep construction is revealed, which in this article, we have studied it with a descriptive-analytical method. According to the obtained results, this story was written under the influence of Ibn Arabi's thoughts and in it, "Shah" is a symbol of the Nafse nateqa which, by illuminating the Rohe mojarrad, reveals the secret of existence and told it to one of his wifes (the secret of Aghle mostafad) and The himself minister (the secret of Ghoveye shahvat). The minister abuses his trust and replaces the king; But finally, the king, with the help of his wife, defeats his.

Space is one of the basic concepts of architecture, which is surrounded by the form and is perceived in the perceptual relationship between the perceiver and the perceived form. In architectural works, the articulation of spaces forms the spatial structure which consists of the internal relations and interactions of spaces. The spatial structure causes a special perceptual quality which has a fundamental role in the experiencing and understanding an architectural work. One of the appearing qualities in the spatial structure of the Iranian architecture is transparency that has had worthy appearance in the period of the architecture excellence, Safavid era. The goal of this study is to explain and classify transparency in the spatial structure of Iranian architecture, considering the architecture of the Safavid era. For this purpose, buildings of this period were divided into two types, according to their spatial structure: extrovert and introvert. HASHT BEHESHT pavilion of Isfahan and Imam Mosque were respectively chosen as extrovert and introvert types. The study, based on case study method, has attempted to analyze, explain and categorize various types of transparency in the spatial structure of Iranian architecture, using data from library documents and field observations. The findings of this research show that spatial transparency is diverse in Iranian architecture. This perceptual quality of space can be classified to “moving / perceptual” and “visual / perceptual”. Iranian architects have achieved visual / perceptual transparency through elements such as Fakhromedin, Shanashil, Hornoo, Shebak and Rozan, and have achieved moving / perceptual transparency through elements such as courtyard, porch and dome. Research findings also show that the elements of visual / perceptual transparency, in addition to their performance, contribute to lightness, visual continuity and simultaneous understanding of internal and external spaces; while moving / perceptual transparency contribute to opening, lightness, sequence, integrity and continuity of space, and one always feels space as defined but endless. As a result, Iranian architecture, especially in the Safavid era, has both spatial sequence and continuity. The spatial continuity always places a person inside a space which is defined.