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Showing 9 results for Dynasty
Volume 2, Issue 1 (4-2012)
Abstract
Garden city idea as an important idea had emerged on 19 century. Creating sustainable complexes and having more relationship with natural environment were the main goals which had been defined for this idea. This idea was established in urbanism literature by Howards' research about creating a balance between city and village living; whereas in east, Garden City as a pure idea has had a metaphysic meaning which is used to create earthy paradise since 16th century. Respect and reverence for water and trees is institutionalized in ancient civilizations of Iran. Iranian people respect trees and water, both separately and in composite forms as gardens, which have been a well-known cultural value both before and after Islam. The oldest Persian garden that have been discovered dates back to the Achaemenid Empire and the quadripartite gardens (charbagh) of Pasargadae. By studying about existent historic gardens, Persian Gardens are divided into different types. The way people use special physical and functional features could also be used as a scale of this division. In Persian Garden category, Garden City has been defined as a well-known model for designing particular gardens in city scale. According to this model, gardens have used sacred and soft spaces as a combination of hard and heavenly, for defining body structure and the development of the city textures. In advanced (pre- designed) samples, the entire city has been formed as a big garden; composed of a set of small gardens with many symbolic features, such as pavilions and water ponds, as seen in the Persian Charbagh Garden. During Safavid dynasty, Isfahan, as the largest Persian garden city, had been supported by a green major axis; which is the so called Charbagh that has been remained as a green heritage so far. Gardens and trees were the most important natural and architectural elements in Isfahan's cityscape at that period. These elements usually have been considered as the traditional identity of the garden city; hence their sustainability had a key role in preserving the structures. Therefore, Designers manufactured particular urban infrastructures to provide useful irrigation system. They had to construct the channels that branched off from the central river of Isfahan (Zayandehrood) and made the water accessible all around the city. First section of this paper is about Safavid Garden City origin. This subject was studied from the politics and governance points of views. In the following, Howard's Garden City origin has been studied. It has formed according to the special Utopias, which had relationships with that time's believes. In addition, some principles of Safavid Garden City have been compared to Howard's. The special study has been done about Intellectual origins which have influenced these Garden Cities creation. In conclusion, the comparison of Howard and Safavid Garden Cities shows that these ideas had been developed based on the worldview and vision of creative Iranians during Safavid dynasty and in 19th century. Moreover, the special methods of plantation, the quality of social relationships and economic similarities were the main differences between these two Garden Cities.
Volume 4, Issue 2 (4-2012)
Abstract
When the Turkmen Seljuks stepped in the world of policy, Iran had passed through the historical experiences of establishing political evolutions and semi-autonomous powers in Abbasid era. These local dynasties left their precious heritage of political structure and legitimacy to the Seljuks to establish the first Islamic empire in the Medieval age. The Seljuks developed a combined method of their nomadic procedures as well as the Iranian bureaucracy system to dominate on the vast territories from Transoxiana to Mediterranean for nearly a century and a half. They developed the interaction and division of power among the main agents and institutions in the society to organize their own legitimacy. This paper aims to introduce the Seljuk S’political structure since the formation of the government until the end of Sultan Malikshah era (1040-1092) and based on the various sorts of legitimacies categorized by Marx Weber in order to, identify the procedures promoted by the Seljuks to legitimize their power that were unprecedented in the Iranian Islamic history.
Volume 6, Issue 1 (4-2014)
Abstract
Abstract The Constitutional revolution in Iran at the late Qajarid dynasty resulted from a coalition of middle classes; however, it failed to be consolidated. This paper applies the structural-institutional approach to explain the instability of constitutional achievements and fragile coalitions between the revolutionaries. Five structural-institutional factors will be discussed as the causes of fragile coalitions. Analytical narrative is the method for explaining events. A matrix of institutional arrangements including imbalanced class structure, economic deficiencies, world-system situation, and incapacitated state were identified as the main factors that created instability. But the effect of weakly founded political institutions of constitutional period was the most important factor of the fragile coalitions, which resulted in conflicts between the political actors, loose agreements, and lack of structured system of decision making and achieving common aims.
Volume 9, Issue 3 (12-2019)
Abstract
Aims: This paper was carried out to show Islamic principles and Quranic verses in the Safavid Dynasty and Qajar Dynasty masterpieces, especially in the case of studies (Chahar-Bagh School-Mosque and Shah Abdol-Azim Tomb). Chahar-Bagh School-Mosque is one of the masterpieces of Safavid Dynasty, and Shah Abdol-Azim Tomb is one of the most important buildings of Tehran. The centrepiece of its tiling ornament has accomplished in the Qajar Dynasty.
Instruments & Methods: Comparative analysis of tiling in these two buildings can help in recognition of them. This study compares these two buildings with analytical-descriptive, and survey study methods.
Findings: The Findings of the present study indicate that the main difference between these two buildings’ tiling is in pattern and colour. In the Safavid Dynasty, azure and turquoise colours are dominant, but in Qajar yellow, orange, pink and brown are seen the most. In Chahar-Bagh complex, Suls and Kufi-ye-Bannai typefaces are used to inscribe Quranic and religious anecdotes. In Shah Abdol-Azim Tomb Nastaliq typeface is used to inscribe anecdotes, holy names, craftsmen’s signatures, and describing the date of building construction. Geometric and arabesque patterns in tiling decoration of the Safavid Dynasty are simple and separate; in the Qajar Dynasty, complex shapes made of geometric and patterns with elaborate and complicated details can be seen.
Conclusion: A review of the two case studies studied, the Chahar-Bagh School-Mosque and Shah Abdol-Azim Tomb, shows that the verses of the Holy Quran can be considered as the source of the artist's idea of understanding the Safavid and Qajar works.
Instruments & Methods: Comparative analysis of tiling in these two buildings can help in recognition of them. This study compares these two buildings with analytical-descriptive, and survey study methods.
Findings: The Findings of the present study indicate that the main difference between these two buildings’ tiling is in pattern and colour. In the Safavid Dynasty, azure and turquoise colours are dominant, but in Qajar yellow, orange, pink and brown are seen the most. In Chahar-Bagh complex, Suls and Kufi-ye-Bannai typefaces are used to inscribe Quranic and religious anecdotes. In Shah Abdol-Azim Tomb Nastaliq typeface is used to inscribe anecdotes, holy names, craftsmen’s signatures, and describing the date of building construction. Geometric and arabesque patterns in tiling decoration of the Safavid Dynasty are simple and separate; in the Qajar Dynasty, complex shapes made of geometric and patterns with elaborate and complicated details can be seen.
Conclusion: A review of the two case studies studied, the Chahar-Bagh School-Mosque and Shah Abdol-Azim Tomb, shows that the verses of the Holy Quran can be considered as the source of the artist's idea of understanding the Safavid and Qajar works.
Volume 9, Issue 39 (6-2021)
Abstract
Narrative scrolls are an important part of the folklore fiction that have not been properly addressed so far. Sometimes inside the scroll there are even some antique points and narrations that are not mentioned in Shahnameh and the heroic poems influenced by Shahnameh. In order to comprehend the epic and heroic texts more accurately, familiarizing with these narrations is an effective method. Therefore, collecting, preserving, scientifically proofreading and publishing these scrolls are fundamental. To this aim, the authors of this article have proofread the content of one of the ancient scrolls. The mentioned scroll which is kept in the National Library with the following registry number, 35098/5, was written in 1208 AH in Tehran. The scroll is important from different angles, including some of its narrative points. In this paper, some of the features of the aforementioned scroll, especially its new fictional points have been examined.
Volume 11, Issue 2 (3-2020)
Abstract
In this article, we tried to analyze administrative- Financial barriers of economic rationalization by utilizing the theoretical approach of Max Weber. In this regard, firstly, we analyzed the characteristics of the public finance organization based on the collective commitment (Liturgical) of the villages, ils (tribes) and guilds in the period Qajar. Then we studied components such as the domination of the livelihoods economy; the suppression of individualism and the expansion of the economy and the division of labor; the lack of competitiveness of the economy in the world system; the weak social mobility as the outcomes of the general tax system governing this period. In the end, based on research findings, the concept of Communal Rationalism has been presented as a theoretical modification with the historical particularity of Qajar Iran.
Gholamreza Fadaie Araghi,
Volume 11, Issue 3 (7-2004)
Volume 11, Issue 3 (7-2004)
Abstract
This paper discusses the number of scholars and their scientific interests in the reign of Bu-veyhid. Buveyhid the most important Iranian-Shi ‘it dynasties appeared in the early era of Islam. They were so powerful that the Abbasid Caliphs had to obey them. According to their Shi ‘it religion, they practiced the idea of democracy and all sects were free in their reign. According to the survey more than 350 scholars were prominent in this period, during 320/900- 450/1050. If we count their specialty, the number increases to about 714. What is in-teresting is that we can find all fields specialists at that time. They are from all religions and also Islamic sects. The number of Shi ‘it scholars is outstanding among them.
Volume 14, Issue 2 (3-2023)
Abstract
This article explores the genesis and consolidation of the Qom religious seminary in modern Iran. It’s argued that the emergence of this religious institution in Iran as a rival to seminaries in Iraq’s shrine cities, was the result of transformations within the Shia clergy and material forces in the Middle East. Contrary to the orthodox view that seeks a transcendental origin for this institution, it’s argued here that the almost simultaneous emergence of the modern state in Iran and Qom seminary was not a paradoxical process. It's argued here that following the collapse of the Ottoman Empire and the gradual decline of religious seminaries in Najaf and Karbala, Shia ulama were in need of a new place to survive. That material change encouraged them to relocate to Iran and work with a state that was deemed secular.
Volume 17, Issue 67 (10-2024)
Abstract
Since many of Hafez's poems reflect the conditions of his time and the events of his life, understanding the history of Hafez's era and awareness of his relationships with powerful figures is crucial for comprehending his poetry. Essentially, grasping a significant portion of Hafez's verses depends on knowledge of the circumstances of his time and the events of his life. Neglecting the historical context of Hafez's poetry can lead to misunderstandings of the meanings of his verses and the concepts and interpretations within them, as well as disrupt the logical connections between the verses. A famous ghazal by Hafez that begins with "Taleh agar madad dahad…" is a prominent example where ignoring this context results in a complete breakdown of the connection between its verses, inevitably leading to a suspension of the hidden meanings and interpretations within it and, consequently, misinterpretation. In this study, using content analysis and a descriptive-analytical approach, we will identify the subtle references in the poem and represent the logical connections between its verses by matching the ghazal with its historical context. In light of the attention to the implications of the elements within the mentioned ghazal, one can speculate about the approximate date of its composition.
Extended Abstract
1. Introduction
The historical aspect of Hafez's poetry, which is undoubtedly one of the most significant features of his work, plays a fundamental role in understanding his words. This characteristic is not commonly found among classical Persian poets. For instance, understanding Saadi's verses often doesn't require knowledge of the political and historical changes of his time. Various reasons can be put forward to explain the extensive reflection of political and historical events in Hafez's poetry; however, his continuous connection with the court and his interactions with kings, ministers, and other political figures play a significant role.
Another important reason is Hafez's approach to poetry as a tool for expressing his viewpoints on events. The immense poetic potential found in Hafez’s work, which spreads at a remarkable speed, allows him to convey his message to his intended audience without the need for intermediaries or messengers. This capacity has been particularly useful in situations where direct communication with the audience was difficult, such as when Shah Sheikh Abu Ishaq left Shiraz after his defeat by Amir Mobarez al-Din, or when Shah Shuja had to abandon Shiraz in the face of his brother Shah Mahmoud's forces, or during the times when Hafez was deprived of seeing Shah Shuja due to a falling out. In these instances and others, Hafez embedded his message in his poetry, which then circulated among the intended audience. It is clear that such verses must exhibit characteristics, including a lack of direct reference to a specific addressee, to protect the poet and shield him from the repercussions of his words. Additionally, the poem should not lack meaning for the general public, or rather, for the broader audience of his poetry. In other words, he crafts the poetry in such a way that everyone enjoys its form and meaning, while at the same time, the specific addressee receives their personal message from it.
Hafez's extraordinary ability to compose such poems is truly one of his remarkable arts. At the same time, a significant number of ambiguities and misunderstandings, as well as the apparent disconnection of verses in a ghazal, stem from this very issue for readers of Hafez. This is where paying attention to the historical context of Hafez's poetry becomes essential. Aligning his verses with their historical background greatly aids in understanding Hafez's poetry, untangling its complexities, and creating coherence along its vertical axis (establishing a logical connection between the verses).
2. Problem Statement
Among Hafez's famous ghazals, one that seems scattered and lacks a logical connection without considering the context of its creation is the ghazal numbered 296 in the version edited by Ghazvini and Ghani.
In the first couplet, the poet expresses a longing to get closer to someone. Then, he immediately mentions his lack of fortune in receiving the generosity of people. He goes on to lament the waste of his precious life in the futile hope of the friend, deeming it impossible to achieve his desires from him. Next, he talks about ungrateful sons and the hard-heartedness of those who don't remember their father, considering any kindness towards them fruitless. Unexpectedly, he recalls his own thoughts of seclusion and asceticism. Then, out of nowhere, there's a mention of the tambourine and the harp played by the young musician. The "mohtaseb" and the "sufi" are characters who come into the scene following the young magus, And each one is condemned. Finally, without any preamble, he speaks of treading the path of the dynasty and the support of the chief of Najaf.
As is evident, various themes, sometimes entirely unrelated, are presented one after the other in this ghazal. With such a degree of thematic scattering and disconnection between the lines, what should one do? In a ghazal that talks about the hard-hearted idols, ungrateful sons, the young magus, the tambourine, the harp, and the wine, what is the connection to speak of the holy dynasty and the chief of Najaf?
Shamisa (2016) has paid attention to the scattered themes in this ghazal. He believes that there is a connection between the verses of Hafez's poetry and that most ghazals have a central coherence. However, regarding the ghazal in question, he says: "Of course, in some cases we must inevitably say that the old scholars' claim [about the lack of semantic connection between verses] is correct, because we do not discover a connection between some of the verses." (p. 25).
Many researchers agree that there is a lack of coherence in the vertical axis and no meaningful connections between the verses in Hafez's poems. Arberry (1974), in the introduction to his book titled Fifty poems of Hafez, considers the cultivation of several unrelated themes in a single ghazal as one of Hafez's innovations (p. 30). Khorramshahi (1982) also believes that the couplets of Hafez's ghazals possess more independence, diversity, and separation than those of other poets (p. 18). Almost all of the commentaries written on Hafez's ghazals have adhered to this viewpoint and felt no necessity to express the relationships among the verses in a ghazal. However, as noted, some researchers do not agree with this perspective. Pournamdarian (2013), describing the structure of Hafez's ghazals, states: "Some have pointed out that one of the characteristics of Hafez's ghazals is the lack of semantic connection between its verses (...) In my opinion, at least it can be said that in many of Hafez's ghazals, there is a semantic connection between the verses, even if this connection is not apparent at first glance" (pp. 225-226).
We believe that the hidden connections of verses in Hafez's poetry often reveal themselves through an understanding of the historical-political context in which they were written; in this study, we aim to analyze the ghazal on this semantic layer, explaining the conditions under which the poem was composed and introducing the characters present in it, while also demonstrating that this ghazal maintains coherence along its vertical axis.
3. Research method
This research has been carried out using content analysis and a descriptive-analytical approach. It aims to examine the poem by aligning it with its historical context, including the conditions, motivations, and goals of the poet at the time of creating the work. Special attention has been given to the information gathered from reliable historical sources, as well as considering the knowledge gained from other poems by the poet, which plays a significant role in aligning the selected ghazal with the key events that influenced its creation.
4. Results
Relating the discussed poetry to the historical backdrop of Hafez's life helps establish a vertical connection between the verses and dispels the accusation of dispersion and fragmentation of meanings within the ghazal, aiding in the accurate understanding of the references and expressions employed. In this ghazal, composed during the era of Amir Mobariz al-Din Muzaffari (Mohtaseb), Hafez speaks of his financial troubles. He also critiques the oppressive social atmosphere prevailing in Shiraz and the encroachment of rulers and their agents on public rights under the guise of piety, expressing his disappointment in garnering support from Shah Shoja, the son and heir of Amir Mobariz al-Din, who he found to be completely different from his father. He talks about the idea of leaving Shiraz and migrating to the court of the Al-Jalayir dynasty, the very court that had previously welcomed artists disillusioned with the Muzaffarid dynasty, like Obaid Zakani, and whose rulers continually expressed their desire for Hafez to be present in their court.
Hafez, by using the phrase "Shahne of Najaf" for the founder of the Jalayerid dynasty, who all had a Shia inclination and contributed significantly to the restoration and expansion of the shrines of Shia Imams within their territory, is also subtly seeking support from the then Jalayerid king, Sultan Uways, for the expenses of his journey. The term "Shahne of Najaf," meaning the guardian and servant of the Najaf shrine, has been a great source of pride for Amir Sheikh Hasan and his successors. At the same time, it's important to note that Hafez, by announcing his intention to migrate to Baghdad, sends a message to Shah Shuja that if he continues to delay and does not take Hafez under his protection, he might lose such an extraordinary poet. It can be inferred that the discussed ghazal was composed during the period between the execution of Shah Sheikh Abou Ishaq in the year 757 AH and the event of Amir Mobariz al-Din being deposed from the throne by his sons in 759.
References
Arberry, A.J. (1974). Fifty poems of Hafiz. Cambridge University Press.
Khorramshahi, B. (1982). Zehn va Zabān-e Hāfez. Nashr-e No. [In Persian]
Pournamdarian, T. (2013). Gomshode-ye Lab-e Daryā: Ta’amoli dar Ma’ni va Surat-e She’r-e Hāfez. Sokhan Publication. [In Persian]
Shamisa, S. (2016) Yāddāsht-hā-ye Hāfez. Mitra Publication. [In Persian]
Extended Abstract
1. Introduction
The historical aspect of Hafez's poetry, which is undoubtedly one of the most significant features of his work, plays a fundamental role in understanding his words. This characteristic is not commonly found among classical Persian poets. For instance, understanding Saadi's verses often doesn't require knowledge of the political and historical changes of his time. Various reasons can be put forward to explain the extensive reflection of political and historical events in Hafez's poetry; however, his continuous connection with the court and his interactions with kings, ministers, and other political figures play a significant role.
Another important reason is Hafez's approach to poetry as a tool for expressing his viewpoints on events. The immense poetic potential found in Hafez’s work, which spreads at a remarkable speed, allows him to convey his message to his intended audience without the need for intermediaries or messengers. This capacity has been particularly useful in situations where direct communication with the audience was difficult, such as when Shah Sheikh Abu Ishaq left Shiraz after his defeat by Amir Mobarez al-Din, or when Shah Shuja had to abandon Shiraz in the face of his brother Shah Mahmoud's forces, or during the times when Hafez was deprived of seeing Shah Shuja due to a falling out. In these instances and others, Hafez embedded his message in his poetry, which then circulated among the intended audience. It is clear that such verses must exhibit characteristics, including a lack of direct reference to a specific addressee, to protect the poet and shield him from the repercussions of his words. Additionally, the poem should not lack meaning for the general public, or rather, for the broader audience of his poetry. In other words, he crafts the poetry in such a way that everyone enjoys its form and meaning, while at the same time, the specific addressee receives their personal message from it.
Hafez's extraordinary ability to compose such poems is truly one of his remarkable arts. At the same time, a significant number of ambiguities and misunderstandings, as well as the apparent disconnection of verses in a ghazal, stem from this very issue for readers of Hafez. This is where paying attention to the historical context of Hafez's poetry becomes essential. Aligning his verses with their historical background greatly aids in understanding Hafez's poetry, untangling its complexities, and creating coherence along its vertical axis (establishing a logical connection between the verses).
2. Problem Statement
Among Hafez's famous ghazals, one that seems scattered and lacks a logical connection without considering the context of its creation is the ghazal numbered 296 in the version edited by Ghazvini and Ghani.
In the first couplet, the poet expresses a longing to get closer to someone. Then, he immediately mentions his lack of fortune in receiving the generosity of people. He goes on to lament the waste of his precious life in the futile hope of the friend, deeming it impossible to achieve his desires from him. Next, he talks about ungrateful sons and the hard-heartedness of those who don't remember their father, considering any kindness towards them fruitless. Unexpectedly, he recalls his own thoughts of seclusion and asceticism. Then, out of nowhere, there's a mention of the tambourine and the harp played by the young musician. The "mohtaseb" and the "sufi" are characters who come into the scene following the young magus, And each one is condemned. Finally, without any preamble, he speaks of treading the path of the dynasty and the support of the chief of Najaf.
As is evident, various themes, sometimes entirely unrelated, are presented one after the other in this ghazal. With such a degree of thematic scattering and disconnection between the lines, what should one do? In a ghazal that talks about the hard-hearted idols, ungrateful sons, the young magus, the tambourine, the harp, and the wine, what is the connection to speak of the holy dynasty and the chief of Najaf?
Shamisa (2016) has paid attention to the scattered themes in this ghazal. He believes that there is a connection between the verses of Hafez's poetry and that most ghazals have a central coherence. However, regarding the ghazal in question, he says: "Of course, in some cases we must inevitably say that the old scholars' claim [about the lack of semantic connection between verses] is correct, because we do not discover a connection between some of the verses." (p. 25).
Many researchers agree that there is a lack of coherence in the vertical axis and no meaningful connections between the verses in Hafez's poems. Arberry (1974), in the introduction to his book titled Fifty poems of Hafez, considers the cultivation of several unrelated themes in a single ghazal as one of Hafez's innovations (p. 30). Khorramshahi (1982) also believes that the couplets of Hafez's ghazals possess more independence, diversity, and separation than those of other poets (p. 18). Almost all of the commentaries written on Hafez's ghazals have adhered to this viewpoint and felt no necessity to express the relationships among the verses in a ghazal. However, as noted, some researchers do not agree with this perspective. Pournamdarian (2013), describing the structure of Hafez's ghazals, states: "Some have pointed out that one of the characteristics of Hafez's ghazals is the lack of semantic connection between its verses (...) In my opinion, at least it can be said that in many of Hafez's ghazals, there is a semantic connection between the verses, even if this connection is not apparent at first glance" (pp. 225-226).
We believe that the hidden connections of verses in Hafez's poetry often reveal themselves through an understanding of the historical-political context in which they were written; in this study, we aim to analyze the ghazal on this semantic layer, explaining the conditions under which the poem was composed and introducing the characters present in it, while also demonstrating that this ghazal maintains coherence along its vertical axis.
3. Research method
This research has been carried out using content analysis and a descriptive-analytical approach. It aims to examine the poem by aligning it with its historical context, including the conditions, motivations, and goals of the poet at the time of creating the work. Special attention has been given to the information gathered from reliable historical sources, as well as considering the knowledge gained from other poems by the poet, which plays a significant role in aligning the selected ghazal with the key events that influenced its creation.
4. Results
Relating the discussed poetry to the historical backdrop of Hafez's life helps establish a vertical connection between the verses and dispels the accusation of dispersion and fragmentation of meanings within the ghazal, aiding in the accurate understanding of the references and expressions employed. In this ghazal, composed during the era of Amir Mobariz al-Din Muzaffari (Mohtaseb), Hafez speaks of his financial troubles. He also critiques the oppressive social atmosphere prevailing in Shiraz and the encroachment of rulers and their agents on public rights under the guise of piety, expressing his disappointment in garnering support from Shah Shoja, the son and heir of Amir Mobariz al-Din, who he found to be completely different from his father. He talks about the idea of leaving Shiraz and migrating to the court of the Al-Jalayir dynasty, the very court that had previously welcomed artists disillusioned with the Muzaffarid dynasty, like Obaid Zakani, and whose rulers continually expressed their desire for Hafez to be present in their court.
Hafez, by using the phrase "Shahne of Najaf" for the founder of the Jalayerid dynasty, who all had a Shia inclination and contributed significantly to the restoration and expansion of the shrines of Shia Imams within their territory, is also subtly seeking support from the then Jalayerid king, Sultan Uways, for the expenses of his journey. The term "Shahne of Najaf," meaning the guardian and servant of the Najaf shrine, has been a great source of pride for Amir Sheikh Hasan and his successors. At the same time, it's important to note that Hafez, by announcing his intention to migrate to Baghdad, sends a message to Shah Shuja that if he continues to delay and does not take Hafez under his protection, he might lose such an extraordinary poet. It can be inferred that the discussed ghazal was composed during the period between the execution of Shah Sheikh Abou Ishaq in the year 757 AH and the event of Amir Mobariz al-Din being deposed from the throne by his sons in 759.
References
Arberry, A.J. (1974). Fifty poems of Hafiz. Cambridge University Press.
Khorramshahi, B. (1982). Zehn va Zabān-e Hāfez. Nashr-e No. [In Persian]
Pournamdarian, T. (2013). Gomshode-ye Lab-e Daryā: Ta’amoli dar Ma’ni va Surat-e She’r-e Hāfez. Sokhan Publication. [In Persian]
Shamisa, S. (2016) Yāddāsht-hā-ye Hāfez. Mitra Publication. [In Persian]
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