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Suhrawardi’s hermeneutical approach to the elements, components and narratives of the Shahnameh, as they are expressed in his mystical treatises, delineates the metamorphosis of the epico-mythic Weltanschauung into a mystico-gnostic worldview. We will best understand this metamorphosis by contrasting the hermeneutical principles of Suhrawardi with those of Ferdowsi in interpreting various myths and epic narratives. Ferdowsi’s hermeneutics can be described as “logocentric,” a term which highlights the role of λόγος in imposing a rational interpretation on the seemingly illogical and counterfactual aspects of myth and epic narrative. In contrast, Suhrawardi’s hermeneutics is dominated by different ontological and epistemological principles that turn it into what can be designated as “radical hermeneutics,” a theory of reading whose radicality consists in making the Erlebnis of the reader and his or her intentiō lectoris the focal point of interpretation. The paper will scrutinize the way in which Suhrawardi interprets the epico-mythic elements of the Shahnameh as mystical symbols in the context of his Gnostic and illuminationist worldview and thus metamorphoses the epic into the mystical.

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This research studies the concept of love from Sheikh Ishragh’s perspective in Attar of Nishapur’s Mantiq Al-Tair paintings by Kamal Adin Behzad.The concept of love from Suhrawardi’s perspective as a love theory is a unique concept which is different from the mystical and aesthetic approaches to love due to its wisdom-centrism.In present study,4 paintings are analyzed using descriptive-qualitative approach.The main goal of this research is to discover and analyze the elements reflecting the Sheikh Ishragh’s love perspective as well as finding the answers to the following questions: based on the centrality of wisdom in Suhrawardi’s theory of love, which of the Behzad’s paintings elements in Attar of Nishapur’s Mantiq Al-Tair paintings can be analyzed on the basis of this theory?The results of the analysis imply that the association of concept of love from Suhrawardi’s perspective and reflection of love in Behzad’s paintings elaborates on the wisdom centrality of Sheikh Ishragh’s theory. The reflection of love from Suhrawardi’s perspective in Attar of Nishapur’s Mantiq Al-Tair paintings was studied in details.Using the contrasting visual elements and compositions, in these paintings to show the contrast of wisdom and ignorance is used as the main themes of Suhrawardi’s love. Each of these themes are accompanied with a theme of suffrage and sorrow whose origin is self-knowledge towards the destination of theism. Finally, this can be implied from the analyses that using all these symbols and signs were consciously and were used very carefully by painter which are compatible with concepts Suhrawardi and Attar reflected.

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Therefore, our main question is what semiotic model can be sought in the context of these philosophical theories, what is the evolutionary relationship of these models with each other and what is the relationship between the Iranian semiotic model and the West.
The findings show in the Iranian philosophical tradition, in the heritage of Farabi and Avicenna, an epistemic system which has roots in Aristotelian and Neoplatonic thinking based on rational presupposition of priori categories. To them, the beginning of the sign is where the active intellect adapts the forms of a prior art imaginable to material matters. As a result, Farabi and Avicenna represent a semiotic system in a modern sense. But Suhrawardi and Mulla Sadra introduce an evolutionary epistemic system, indicating the beginning of the abstract movement of the thinkers. This theory is similar to the ideas of the Renaissance in Europe and adapts to the modernist theories of semiotics. According Suhrawardi and Mulla Sadra, there are no selfsame signs. In their semiotics, except by the mind, the sign cannot reach the field of creativity and semantic interpretation. For them, the sign flows through the steady evolution of sensory differentiation into abstract and collective space. We show in his paper the usefulness of this implicit semiotics as a method for textual analyzing by analyzing a visual-verbal literary text.
 

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Trying to understand the reality of the soul and its result (Self Knowledge Theology) has always attracted philosophers’ attention and has been regarded as one of the concerns of philosophical thinking. In this article, it is specified that the peripatetic philosophers, whether Greek or Islamic, have considered the soul as a chapter of naturalia and try mostly to comment on the soul’s powers and activities; they have not had any epistemological view of it. In contrast, Sheikh Eshragh closes the psychology to the theological discussions and looks at it from the epistemological point of view. His discussion is not about soul’s powers, but he provides a way to save the soul from the prison of the body and emancipate the human being from the darkness of material world. In the illuminationist philosophy, the theory of intuition was proposed for the first time (The substantial form), so it has discussed the nature of the soul from this viewpoint. Suhrawardi’s psychology isn’t a consequence of theoretical discussion, but it results from introspection and self-awareness that is possible only through the asceticism and controlling the dragon of carnal soul. It is soul which shows not only the Light of Lights, but it becomes divine and finally through this path he founds his luminous system. The system of being is realized through the epistemology of soul.

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Sufficiency in the conventional sense of symbols has prevented them from defining new concepts. On the other hand, the foundation of factors that shape the patterns leads to the decipherment and production of a new meaning. The role of the peacock has always been a symbol of pride, glory, and beauty. However, understanding the visual difference between the twelfth-century peacock motif carpet and the previous specimens doubled the need to reproduce the new meaning. Auxiliary text was needed to achieve this goal. With such an approach, Sheikh Shahab al-Din Suhrawardi's " Loghat-e-Moran seems appropriate. It's as if our Loghat-e-Moran for a text was an image of an altar rug peacock in the Metropolitan Museum, and as a result it was read accordingly. Understanding the meaning of the peacock motif based on the thematic application of the carpet and the above treatise is the main purpose of this article. The result shows that the peacock, in addition to its common meanings, was a symbol of longing and sorrow. This research is based on the qualitative method and developed and described based on the motif of the altar peacock carpet in the meaningful context of the text Loghat-e-Moran by Sheikh Ishraq. In terms of classification, it is descriptive and analytical study.