https://sh-kashan.kashanu.ac.ir/ Kashan Shenasi en daily 1 Fri, 20 Feb 2026 00:00:00 +0330 Fri, 20 Feb 2026 00:00:00 +0330 https://sh-kashan.kashanu.ac.ir/article_115492.html This study examines the role and function of the Kashan Chamber of Commerce in the economic and social transformations of the city during the period from 1955 to 1964. Its main objective is to explain the position of this institution in regulating commercial and industrial activities, pursuing the demands of economic actors, and contributing to the resolution of Kashan’s economic and urban issues within the context of Iran’s economic transformations during the 1950s and early 1960s—a period in which the Iranian economy gradually entered a phase of stability and growth. This study is library based and analytical, examining the Chamber’s documents, including administrative correspondence, reports, and minutes. The central hypothesis of the study is that during this period the Chamber, in addition to organizing commercial affairs, served as an intermediary between economic actors and government institutions and played an effective role in pursuing economic issues and developing urban infrastructure. The article is organized into three sections: first, an examination of Iran’s economic and social context and Kashan’s economic position; second, a history of the formation of the Assembly of Merchants’ Representatives and the Kashan Chamber of Commerce; and third, an analysis of the activities of this institution based on the available documents. The findings indicated that the Chamber played an important role in strengthening the regional economy by addressing infrastructural conditions, supporting local industries such as carpet weaving and textiles, and seeking to expand banking and communication services. https://sh-kashan.kashanu.ac.ir/article_115308.html Representation in the field of art is the process of reflecting and reproducing reality, thought, and identity through symbolic and visual forms. Its significance lies in the fact that, through representation, works of art become a medium for conveying cultural, religious, and social concepts and provide an opportunity to interpret the underlying layers of collective thought and beliefs. Therefore, examining representation in works of art, particularly in handwoven textiles, is essential for understanding how the identity and cultural discourses of each period are reflected. The issue of representation in works of art, particularly in Qajar-period prayer rugs from Kashan, is associated with components such as culture, identity, religious beliefs, and the prevailing ideology. These representations often emerge indirectly through mystical, religious, Sufi, mythological, and symbolic themes within the visual structure of the rugs and provide a medium for conveying intellectual and ideological concepts. The semantic layers arising from indigenous, historical, and social contexts have contributed to the formation of representations that implicitly reflect the ideological and identity-related themes of the Qajar period through symbolic discourses. Despite their conceptual independence, these representations, in relation to one another, constitute the ideological structure of the work. The symbolic motifs of the mihrab and the inscriptions of Kashan’s prayer rugs, as a cultural medium, carry coded messages derived from the history and collective memory of Iranian Muslims; messages that have manifested themselves in the reproduction of the discourse of power and in legitimizing the ideology of the rulers. The aim of this study is to identify the artistic and cultural perspectives of the Qajar period, examine how they were employed by Kashani designers and carpet weavers, and investigate the symbolic and indirect representation of signs and social layers associated with the governmental structure of that period. The present study was conducted using a descriptive-analytical approach within the framework of qualitative research. Data were collected from library sources to answer the following questions: which identity-related components are reflected in the symbols and signs of Kashan’s prayer rugs? and how and through what methods does the process of representation take place in these rugs? The results indicated that aesthetic elements derived from nature, the architecture of the mihrab, symbolic motifs, and Iranian identity-related signs have served as effective mediators in the formation of mythological, mental, social, and realistic representations. https://sh-kashan.kashanu.ac.ir/article_115183.html Sam Mirza Safavi, who was crowned Safi II at the beginning of his reign, ascended the throne again after a period of time under the name Suleiman, an unusual event reflected in historical and artistic sources. In addition to its political significance, his coronation ceremony was represented in historical sources and in works such as a brocade textile attributed to Kashan. The aim of this study is to examine how this event is reflected in the aforementioned textile and in contemporary historical texts. The main question is: what similarities and differences exist between the visual and written accounts of this event? This study is qualitative and uses a descriptive-analytical, historical, and a synchronic comparative approach. The present study conducts a parallel comparison and analysis of the coronation brocade of Shah Suleiman and historical texts from the same period. The findings indicate that both sources share common symbolism and key elements, including an emphasis on the king’s position as God’s representative and the legitimization of royal authority. Nevertheless, differences can also be observed, which are primarily attributable to the differing purposes and modes of expression of each medium. The brocade textile focuses predominantly on visual and symbolic aspects, whereas the historical texts provide details and discuss the political and social contexts. Overall, this comparison demonstrated that textile art during the Safavid period, beyond its decorative function, played an effective role in representing and consolidating political power. https://sh-kashan.kashanu.ac.ir/article_115413.html The word fiqh and its derivatives in the Holy Qur’an and Islamic narrations have given rise to two different interpretations. Jurists have generally understood it as referring to knowledge of the Sharia and, consequently, have regarded the obligation of tafaqquh as referring to knowledge of the rulings concerning what is lawful and unlawful, while considering the virtues mentioned regarding it to apply to scholars in this field. In contrast, philosophers and mystics have understood the use of this term in a philosophical-mystical sense. Identifying the usage of this term in Qur’anic and narrational texts reveals its semantic position within Islamic culture. Mulla Muhsin Fayz Kashani is among those who, despite having a background in jurisprudence and the principles of jurisprudence, preferred the meaning of “inner jurisprudence” (fiqh al-batin), which corresponds to its philosophical-mystical conception, over the conventional concept of Sharia. He has therefore generally interpreted the term in question and its derivatives, as used in Qur’anic verses and narrations, from this perspective. The present study aims to identify the concept of fiqh in his interpretive perspective and ultimately reinforces the proposition that the use of fiqh in the meaning reflected in the writings of mystics and philosophers, including Fayz Kashani, despite its use to refer to knowledge of the Sharia in some early texts and the predominance of this meaning in later texts concerning Sharia jurisprudence, appears to be more accurate. https://sh-kashan.kashanu.ac.ir/article_115412.html Muhammad-Baqir Khordeh Kashani was a talented poet and accomplished calligrapher from Kashan who lived in the tenth and eleventh centuries AH. Like several other Kashani poets, he migrated to India in his youth, where he gained a position at the court of Ibrahim Adil Shah. He never returned to Kashan and eventually passed away in India. Nevertheless, memories of his beloved and homeland always remained with him and occasionally found their way into his poetry. Examining these reflections is the subject of the present study. By using a descriptive and analytical approach, this study seeks to answer this question: how are Kashan and Baqir’s identity, as a Kashani, reflected in his poetry? The study concludes that, although these reflections are not numerous, they appear in two areas: first, references to Kashan and some places within or around it; and second, the manifestation of proverbs, vocabulary, expressions, and popular/Kashani idioms. These references and usages can be utilized in historical and cultural studies of Kashan. https://sh-kashan.kashanu.ac.ir/article_115534.html Although Taʿziyeh is an art form originating in the context of Ashura, it has not remained confined to its historical framework. Rather, within the context of popular culture and literature, and drawing upon the diversity of the tastes of manuscript writers as well as the preferences and demands of society, it has entered numerous historical, religious, cultural, mythological, mystical, and other domains. Consequently, the number of Taʿziyeh manuscripts and subjects has grown to several hundred performances. Among the themes of this popular artistic treasury are narratives concerning the lives of the descendants of the Imams in various regions of Iran. Among them, Imamzadeh Sultan Ali ibn Muhammad Baqir (peace be upon him), buried in Ardehal, Kashan, is the most important Imamzadeh in this region and is among the descendants of the Imams who have received particular attention and devotion from both the elite and the general populace in Iran. This study examines the Taʿziyeh manuscript of Sultan Ali (peace be upon him), composed by Mir-Ezā of Kashan, and investigates the particular sanctity attributed to the land of Ardehal, the similarities between the Ardehal incident and the event of Ashura, the textual analysis of the Sultan Ali Taʿziyeh manuscript, and certain characteristics of this Taʿziyeh. It seeks to demonstrate the reasons for the connection and dependence of the Sultan Ali Taʿziyeh script on Iranian and mythological motifs and ultimately aims to answer these questions: to what extent this Taʿziyeh performance draws upon the narratives found in biographical and hagiographical sources and to what extent it is created by Taʿziyeh manuscript writers? And does this performance have connections with other Taʿziyeh performances, particularly those concerning Imamzadehs? This study is a library-based research. https://sh-kashan.kashanu.ac.ir/article_115428.html An area in the middle of the Kashan bazaar is known as Qaysariyeh. The aim of the present research is to determine the location and characteristics of The Qaysariyyah of Kashan in order to determine what kind of space this Qaysariyyah was and what process caused its exact location to be forgotten and this area to become known as Qaysariyyah. For this purpose, using a historical approach it was determined what kind of space The Qaysariyyah of Kashan is, who built it at what time and in what place, what characteristics it had until the end of the Qajar period and how it changed. The results of this research show that Qaysariyyah of Kashan is a bazaar built by Agha Khezr Nahavandi, the minister of Kashan during the reign of Shah Abbas I. This bazaar is located southwest of the Balabazar arcade and consists of four arcades that meet at a chaharsu. Material evidence shows that previously the end of each of these four arcades was closed with a door. Despite being damaged in the earthquake of 1192 AH, this bazaar was repaired and in the early Qajar period it was still one of the important bazaars of Kashan. After that, no further detailed repairs were made to it, and it even became known as the Orsi-Doozha bazaar, and eventually the Qeysariyeh bazaar of Agha Khezr was forgotten, and only a name remained for this area. https://sh-kashan.kashanu.ac.ir/article_115493.html This study examines letter pouches as a component of Safavid royal correspondence. While textile containers for transmitting written communications are known from earlier periods, pre Safavid sources provide only brief references to this practice and offer little information about their form or significance. In contrast, Safavid sources, particularly the Bayāz-i Makātīb-i Ṣafavī, contain detailed descriptions of the material characteristics and courtly protocols associated with letter pouches, allowing for a clearer understanding of their role in Safavid diplomatic culture. The article analyzes forty entries in the Bayāz that mention the use or omission of letter pouches, focusing on their technical and aesthetic features. It also considers the role of textile production centers such as Kashan, a major Safavid hub for silk and velvet weaving, which helps contextualize the materials used to produce these objects. In addition, the units of measurement recorded in twenty one entries are examined and compared with nine surviving Safavid letter pouches. The study explores how the material qualities and ceremonial use of letter pouches contributed to the representation of political authority. The findings show that in the Safavid period letter pouches functioned not only as protective containers but also as important visual and ceremonial devices. Through their textiles, dimensions, sealing methods, and presentation, they communicated royal authority, the rank of recipients, and the nature of diplomatic relationships. As such, these objects formed part of a shared visual language that conveyed political meaning even before the letter itself was opened or read. https://sh-kashan.kashanu.ac.ir/article_115561.html Today, due to the lack of application of climate-responsive structural models in new buildings, many residential units in the hot and dry climate of Kashan suffer from inadequate energy efficiency and thermal comfort. Taking an innovative approach, the present study seeks to extract quantitative climatic strategies from the architecture of the Borujerdi House in Kashan. Unlike previous studies that have mainly focused on qualitative descriptions of architectural elements, this research, through field measurements of temperature, humidity, and radiation in three sections—summer residence, winter residence, and central courtyard—calculates the degree of thermal moderation of each space relative to the outdoor urban environment. The results show that the summer-sitting space (Tābistān-neshīn) of the Borujerdi House can reduce the outdoor air temperature (e.g., 45°C) by up to 12°C. This paper presents data-driven and generalizable ecological design strategies (orientation, spatial organization, materials, vegetation, and passive systems) for new housing in dry climates.Traditional Iranian architecture in hot and dry climates, such as the Borujerdi House in Kashan, demonstrates a system of passive climatic strategies that can reduce energy consumption in contemporary buildings by up to 70% (Naderi, 1998; Heydari, 2014). However, existing research is either qualitative or focuses on a single element (e.g., windcatchers), and lacks quantitative field https://sh-kashan.kashanu.ac.ir/article_115594.html The Paqapan historical site in the city of Kashan is an example of rock-cut architecture in central Iran that was discovered accidentally beneath a historic house. Located at a depth of more than eight meters below the present ground surface, the site comprises a complex of underground spaces and connecting passageways. The aim of this study is to establish the chronology and interpret the function of the site through the analysis of architectural evidence, archaeological data, and written sources. The research is based on the results of archaeological excavations and the examination of cultural deposits and portable finds. The findings indicate that only the in situ deposits of the site, namely Contexts 116 and 120, reflect the primary period of its occupation and use. The assemblage of inscribed glazed wares, black-painted ceramics, lajvardina tiles, and Sultanabad-style pottery dates the use of the site to the seventh century AH, and possibly the early eighth century AH. Furthermore, the presence of everyday objects, ornaments, glass vessels, beads, and ash deposits on the occupation floor indicates routine habitation within the complex. The considerable depth of the site, the short-term nature of occupation, architectural evidence related to access and ventilation, and its chronological association with the political insecurity caused by the Mongol invasions strengthen the hypothesis that the site functioned as a refuge. Accordingly, the Paqapan site may be interpreted as an example of refuge-type rock-cut architecture in Kashan, which was likely part of a broader network of historical subterranean spaces beneath the city. https://sh-kashan.kashanu.ac.ir/article_115830.html The meaning of life is among the questions that has received particular and systematic attention in recent times. Although it has been examined in fields such as philosophy, religion, and psychology, the present study investigates this issue in the poetry of Afḍal al-Dīn Kāshānī, known as Bābā Afḍal, a poet whose thought is also marked by a philosophical and wisdom-oriented orientation. This article examines the constituents of a meaningful life in Bābā Afḍal’s thought on the basis of his quatrains. The aim of the study is to provide an account of the meaning of life through an analysis of this poet-philosopher’s viewpoint. Accordingly, the main question addressed is: what is the meaning of life from Bābā Afḍal’s perspective? The study is based on library research and employs a descriptive-analytical method. The findings show that Bābā Afḍal affirms the necessity of a meaningful life and regards the meaning of life as something to be discovered rather than constructed. From his perspective, this meaning may be explained through ten components: death, love, reason and consciousness, self-knowledge, knowledge of God, ethics, religion, determinism and free will, happiness, and suffering. Bābā Afḍal’s approach to the meaning of life places him among supernaturalist thinkers. He maintains that human beings can discover the meaning of life through reason and wisdom; however, this discovery takes shape hermeneutically and phenomenologically according to each individual’s consciousness and rational capacity. https://sh-kashan.kashanu.ac.ir/article_115836.html The Safavid era marks a turning point in the history of Shiʿism and in the relations between religious scholars and political power. The central question of this study is how Mullā Muḥsin Fayḍ Kāshānī (d. 1091 AH), who lived during the reigns of four Safavid kings — Shah ʿAbbās I, Shah Ṣafī, Shah ʿAbbās II, and Shah Sulaymān — actually engaged with Safavid rule. Fayḍ accepted the office of Friday prayer leadership (imāmat-i jumʿa) and intervened in judicial and petition-related matters, yet he consistently preserved his intellectual independence in critiquing policies. The study employs a historical-analytical method and qualitative content analysis of primary sources, particularly Fayḍ's autobiographical writings. The findings suggest that, on the basis of an analytical reconstruction of the sources, Fayḍ's relationship with Safavid power can be formulated in five stages: rejection of Shah Ṣafī's invitation; conditional acceptance of Shah ʿAbbās II's invitation; reformist activity at court; a crisis of conscience and resignation; and finally a gradual disengagement, which this study terms "responsible seclusion" (ʿuzlat-i masʾūlāna). The conclusion is that Fayḍ's political conduct can be interpreted within the analytical framework of "critical engagement" — a concept formulated by the authors for this study, rather than a theory already established in political science literature. This framework moves beyond the simple dichotomies of "cooperation or confrontation" and can serve as a useful model for analyzing religion–state relations in Iranian history and contemporary Shiʿi societies.