The dignity and status of HOLY Quran among Muslims, has ever prevented the independent painting of this HOLY book. But the craving and eagerness of LITERATUREs who love Quran, has developed some texts under the influence of Quran. These texts, and some other historical books, were places to express the concepts and stories of Quran in IRANian painting between eighth and eleventh centuries hejri ghamari. This important incident has happened by visualization and illustration of texts influenced by HOLY Quran.This article aims to pursue such important paintings, and enters the descriptive and comparative study of images, the place of poetry and texts in painting, especially HOLY Quran. In this way, the capacity of painting in expressing Quran concepts, in our country has been criticized and studied, and the place of LITERATURE (prose and poetry) in forming such images is discussed. One of the most important results and findings of this research, which can make special capacity in informing the IRANian contemporary artists, is discovering the significant and essential status of PERSIAN LITERATURE in Formation of paintings based on the Quran. It is achieved by referring to index samples and making a general classification about them.

Attitudes of various religions and schools of beauty, plays a decisive role in form of their artworks and contents. In eastern civilizations, in most times for the long time, the art has been accompanied with an artistic view, faith-spiritual or mythological and its purpose was to draw more people into absolute beauty. Examining aspects of cultural and ritual art approach in the East and with the study of ideas, different perspectives and worldviews, we can define an acceptable offer of art and we can take a look at the HOLY and religious art that is result of the east civilization, with a mythological-literal view. In this paper that is done using a library and analytical-descriptive method, we tried to show that the true art, truth of the beauty and the creator of the beauty and perfection of the creator and the philosophy, in addition to introducing the magnificent original art.

The Art of ISLAMIC Banking and Finance narrates the author’ s (Yahia Abdul-Rahman) achievement in constituting an interest-free bank in the U. S. A. As a matter of fact, he explores banking and finance laws and regularities in the U. S as well as the ISLAMIC banking system in the world. The remarkable difference between these two kinds of banking systems is that the former is based on the monetary market and the latter on the real economy. In the ISLAMIC banking system, the rent expense of a commodity to be financed is measured based on rules known as “ commodity indexation” and “ marking to market” . Moreover, in such a system, the interest rate of the ordinary banking system is substituted with the rent expense of a commodity. Thus, rent expenses are not fixed like interest rates. The prominent characteristic of an ISLAMIC banking system is not only its interest-free feature but also its civility and social responsibility. The main pitfalls of the book include a lack of comprehensive discussion and a lack of reporting the ISLAMIC banking systems of other Muslim countries. Besides, no thorough analysis of banking system experiences has been done and has not paid attention to the critique of the IRANian banking system.

Syllepsis and the determination of its types have not been a subject in some of the earlier rhetorical books. Mirza Abootalib Fendereski, the author of the treatise Bayanolbadi’ , is the first person who defined and explained it in PERSIAN rhetoric, following the Arabic rhetoric. After him, other people have discussed how and why those arts have been used and determined the boundaries of this art. The results of the comparison between these definitions and opinions are as follows: A. Syllepsis has three sub-categories: metaphorical syllepsis (verbal and nominal), non-metaphorical syllepsis, and pronoun syllepsis; B. The use of pronouns is most usual in Arabic language and LITERATURE not in PERSIAN; C. There may be several A and B’ s (two sides of a simile) in syllepsis; D. In metaphorical syllepsis, the form has a concrete and real meaning in one of the parts of the syllepsis and is conceptually rational, abstractive compared with the other. To clarify the issue, we provided examples for each of these types of syllepsis.

This article elaborates direct and indirect points of Quran to Art and architecture. Then Quran effects and applications in Art and architecture are analyzed and pointed to some inscriptions buildings and their features.Finally, the author writes notes about utilizing artistic achievements in illuminating Quran.

Contradiction or coordination of the HOLY art with different aspects of technology is the subject of this article. Anxiety about HOLY dimensions of life to be scratched with this phenomenon causes the position of technology to be studied in different fields. Discussions about art and technology in the world and also holiness and the HOLY place, are the preludes to the aforementioned topic which facilitates understanding the origin of HOLY art and its method of statement. The vastest, the most common and merciful HOLY place is the natural environment created by Almighty God which is the manifestation of truth and presents the most holiness. It is also possible in the houses of worship, for example Masjed-al-Nabiand Masjed -al- Heram, to pass from one position to another and from the earth to the heaven; so they can be called "the HOLY places". On the other hand, the technology found in such places is in accordance with their spiritual atmosphere and therefore there exists the destructive technology in a different form and with a different motivation. The tools and techniques of art are not HOLY but they are the source of art and bring HOLY Spirit to the artistic works. It seems that the motivation behind creating a work, i.e. whether it is a divine or satanic motivation, brings the feeling of holiness from an artistic work and makes it applicable in the human societies. Therefore, (benefiting from technology) such an art which originates form man's exalted aspect finds a form of manifestation and eventually is effective in man's elevation. As a result, the all factors of atmosphere, place, man and art are in some ways relevant to technology. So, the association of art and technology should not be considered destructive to the HOLY spirit of art. Because art benefits from the tangible exterior to express the exalted meanings and it is manifested in architecture and writing by a human application and HOLY identity.-The best examples for this claim are the HOLY places such as Masjed-al-Haram and Masjid-al- Nabi which benefiting from the required technology appropriate for its application, have kept the HOLY Spirit in the remarkable way.- Another example is the HOLY book of Quran. On one hand, it contains the elevated meaning and so it is spiritual and on the other hand, it is recorded in an earthly method and so it is material. In both cases it is full of holiness.Therefore, applying technology as a facilitating tool can imply the esoteric concept. On the other hand, the holiness of art originates from the artists spirit and is inspired by the divine Spirit. While all the chains of truth, need and power are broken for the unruly man and considersa role for the application of technology which is far from being only and is harmful to him and the society. If this aspect of technology is used in art, science or anything else, it destroys their holiness.Mentioning the variables, such as HOLY man, HOLY book, and HOLY places proves that real holiness is not necessarily from the metaphysics; but it is the divine shadow and spirit which has influence on place, man and art from its holiness. Therefore, whether the artistic work is created by the primitive tools or the modem techniques has no effects on its holiness.  

Early Safavid painting combined the Traditions of Timurid Herat and Turcoman Tabriz to reach a peak of technical excellence and of emotional expressiveness which for many as the fint'st hour of PERSIAN painting.The Safavid dynasty lingered on until Nadirshah crowned himself in 1736, but was in decline after death of Shah Abbas I in 1629. Shah Safi I died in 1941 and was succeeded by Abbas II, who Reigned until 1666. He inherited his grandfather, interest in arts and appreciated fine things. Shah Sulayman I succeeded Abbas II in 1666 and reigned until his death in 1694. His successor sultan Husayn reigned to 1722, by which latter date the Afghans had occupied Isfahan.European Modes of representation in a novel and a pealing style the set the direction for later IRANian painting on both small and large scale. Indeed at this period oil paintings on canvas in this style were first produced in IRAN. These European ideas could have reached IRAN either directly from Europe or via India and Ottoman Turkey. European elements are more clearly seen in the works of Mu'in Mussavar, Mohammad Zaman, Shaykh Abbasi, Aliquli Jebadar, Shafi Abbasi, and Bahram Sofrahkash. This article survey European element in late painting of Safavid Period.

Communities’ worldview has an important role in shaping arts. Exploring the evolution of the PERSIAN art and architecture indicates that, in different periods, despite the change of aesthetic and expression, there have relatively been some similar meanings in different forms of art. On the words, in different forms of art, expression might be changed but a unique meaning would bemarinated.In this research it is assumed that the roots of these semblances are in philosophical theories that have been dominant in the society. Art can be inspired by different theories, symbolism in PERSIAN Mythological and mystical texts, and ultimately leads to the creation of a special aesthetic expression that could create a similar meaning in different kinds of forms.The results of this research indicate that there has been an obvious connection between the PERSIAN art and architecture and philosophy. In Safavids, the combination of various philosophical schools led to the creation of one of the most glorious periods of the PERSIAN art and architecture. The belief in the sanctity of the symbols of fertility that are visible in the historical IRANian thoughtsas well as in various forms of art such as Anahita and tree of life have been replaced with waterfront and domes in the Safavids architecture. In all these shapes, a similar meaning would be visible.