اداره کل فرهنگ و ارشاد اسلامی استان خراسان جنوبی مطالعات فرهنگی اجتماعی خراسان 2676-6116 20 3 2026 04 21 The role of attitude towards organizational change in teachers' innovative behavior Birjand Primary Education Course نقش نگرش به تغییر سازمانی در رفتار نوآورانه ی معلمان دوره آموزش ابتدایی بیرجند 234091 10.22034/fakh.2025.538403.1753 FA هادی پورشافعی دانشیار علوم تربیتی دانشکده علوم تربیتی و روانشناسی، دانشگاه بیرجند. بیرجند. ایران 0000-0003-2435-0294 امیرحسین اکبری دانش‌آموخته کارشناسی‌ارشد روان‌شناسی تربیتی، گروه روان‌شناسی، دانشکده ادبیات و علوم انسانی، دانشگاه آزاد اسلامی، واحد بیرجند، بیرجند، ایران 0009-0004-8936-9927 Journal Article 2025 08 02 Organizational change occurs within a cultural framework. Cultural factors such as values, beliefs, and norms play an important role in shaping individuals' attitudes toward change. The aim of this study is to investigate the role of attitudes toward organizational change in the innovative behavior of elementary school teachers in Birjand. The research employed a descriptive-correlational design. The population consisted of 1900 elementary school teachers in Birjand city during the 2022-2023 academic year. A sample of 320 teachers was selected using a multi-stage cluster sampling method. The data collection tools were the organizational change attitude questionnaires of Dunham et al. (1989) and Kanter's innovative behavior questionnaires (1988). The reliability of the questionnaires was 0.87 and 0.89, respectively. Data were analyzed using one-sample t-test and multiple regression in Spss16 software. The findings revealed that teachers' attitudes toward organizational change and innovative behavior were significantly above average and in a favorable state. The results of the main hypothesis showed that the attitude towards organizational change has a positive and significant relationship with the innovative behavior of Birjand primary education teachers. A correlation was obtained between attitude towards organizational change and innovative behavior (R= 0.20), therefore, attitude towards organizational change has a predictive role in the innovative behavior of Birjand elementary school teachers. The results of the sub-hypotheses showed that, with the exception of emotional attitude, cognitive and behavioral attitude have a positive and significant relationship with the innovative behavior of Birjand primary education teachers.Among the components of attitude towards organizational change, the correlation between the two behavioral and cognitive components with innovative behavior was (R= 0.26) and (R=0.19), respectively. In general, among the dimensions of attitude towards organizational change, the behavioral component plays the greatest role in predicting innovative behavior among elementary school teachers in Birjand. تغییر سازمانی در چارچوب فرهنگی رخ می‌دهد.؛ بنابراین عوامل فرهنگی مانند ارزش‌ها، باورها و هنجارها نقش مهمی در شکل‌دهی نگرش افراد به تغییر دارند. هدف پژوهش حاضر بررسی نقش نگرش به تغییر سازمانی در رفتار نوآورانه‌ی معلمان آموزش و پرورش دوره‌ی ابتدایی در شهر بیرجند است. روش پژوهش توصیفی ـ همبستگی است. جامعه‌ی‌ آماری شامل 1900 نفر از معلمان ابتدایی شهر بیرجند در سال 140۲-140۳ است که از میان آن‌ها نمونه‌ای 320 نفره به روش خوشه‌ای چند مرحله‌ای انتخاب گردید. گردآوری داده‌ها از طریق پرسش‌نامه‌های نگرش به تغییر سازمانی دانهام و همکاران (1989) و رفتار نوآورانه‌ی کانتر (1988) انجام گرفت. پایایی پرسش‌نامه‌ها به ‌ترتیب 0.83 و 0.88 به دست آمد. داده‌ها با استفاده از آزمون تی تک‌نمونه‌ای و رگرسیون چندگانه در نرم‌افزار Spss16 تحلیل گردید. یافته‌ها نشان می‌دهد که نگرش به تغییر سازمانی و رفتار نوآورانه‌ی معلمان به طور معناداری بالاتر از میانگین و در وضعیت مطلوب قرار دارد. نتایج فرضیه‌‌ی اصلی نشان‌دهنده‌ی رابطه‌ی مثبت و معنادار نگرش به تغییر سازمانی با رفتار نوآورانه‌ی معلمان آموزش ابتدایی بیرجند است. همبستگی بین نگرش به تغییر سازمانی با رفتار نوآورانه(R= 0/20) به دست آمد؛ بنابراین نگرش به تغییر سازمانی در رفتار نوآورانه‌ی معلمان ابتدایی بیرجند نقش پیش‌بینی‌کننده دارد. نتایج فرضیه‌های فرعی نیز بر این امر تأکید دارد که، به استثنای نگرش عاطفی، نگرش شناختی و رفتاری رابطه‌ی مثبت و معناداری با رفتار نوآورانه‌ی معلمان آموزش ابتدایی بیرجند دارند. از بین مؤلفه‌های نگرش به تغییر سازمانی، همبستگی دو مؤلفه‌ی رفتاری و شناختی با رفتار نوآورانه به‌ترتیب (R= 0/26) و (R=0/19) به دست آمد. در نتیجه‌گیری کلی از بین ابعاد نگرش به تغییر سازمانی، مؤلفه‌ی رفتاری بیشترین نقش را در پیش‌بینی رفتار نوآورانه‌ی معلمان ابتدایی بیرجند دارد.

http://www.farhangekhorasan.ir/article_234091_f329163a7bdef227e19477a4ba05c3a3.pdf

اداره کل فرهنگ و ارشاد اسلامی استان خراسان جنوبی مطالعات فرهنگی اجتماعی خراسان 2676-6116 20 3 2026 04 21 Mortuary Landscape and the Materiality of Death in the Late Islamic Periods: An Archaeological Study of Khusf and Darmiyan Counties چشم‌انداز تدفینی و مادیت مرگ در سده‌های متأخر اسلامی: مطالعه‌ای باستان‌شناختی در دو شهرستان خوسف و درمیان 251020 10.22034/fakh.2026.583540.1792 FA حسین صدیقیان دانشیار گروه باستان‌شناسی، دانشگاه لرستان، خرم‌آباد، ایران. 0000-0003-0244-2673 Journal Article 2026 05 27 Abstract Mortuary spaces are among the richest sources of material culture for understanding social structures, belief systems, and group identities, because what societies construct for their dead directly reflects the worldview of the living. Nevertheless, archaeological studies of mortuary spaces in Iran during the Islamic period have largely remained descriptive and architectural in orientation and have rarely been integrated with modern theoretical approaches in archaeology. This theoretical gap is particularly evident in less-studied regions such as South Khorasan, where the remarkable diversity of funerary structures has not yet been examined from the perspective of the archaeology of death. This study investigates the mortuary landscapes of Khusf and Darmian Counties in South Khorasan during the later Islamic centuries, with the aim of identifying structural and spatial patterns and interpreting them within the region’s cultural and social context. The main question concerns the relationship between structural and spatial variation, the social and religious status of the deceased, and the spatial functions of funerary monuments. The study adopts a descriptive-analytical approach based on field and documentary research and employs the theoretical frameworks of mortuary landscape, materiality of death, and ritual variability. The findings reveal a mosaic of distinct traditions, including roofed domed structures alongside enclosed roofless spaces and elongated graves associated with shaykhs and mystics. Monumental form and dimensions are meaningfully related to the status of the deceased, while white flintstone grave coverings indicate group affiliation. These patterns reflect diversity in belief systems, social status, and material traditions among the communities of the region. 1. Introduction Death and the rituals associated with it have long constituted an important domain of material culture. The structures societies build for the dead, the ways they arrange graves, the locations they select for tombs, and the materials they employ all encode aspects of worldview, social organization, and belief. Mortuary spaces are therefore not merely places of burial but material records of the living, whose archaeological interpretation can reveal dimensions of cultural history that are absent or underrepresented in written sources. In Iran, however, archaeological studies of Islamic-period funerary monuments have largely remained descriptive and architectural, while theoretical approaches developed in the archaeology of death and landscape have been less frequently applied. This gap is especially evident in South Khorasan, where Khusf and Darmian contain diverse funerary monuments and burial spaces that have mostly been documented through brief architectural descriptions. The present study addresses this gap by examining the mortuary landscape of the two counties from the Timurid to the Qajar periods through the complementary perspectives of mortuary landscape, materiality of death, and ritual variability. It seeks to identify structural and material patterns, examine the relationship between funerary form and the social and religious status of the deceased, interpret the meanings of material choices in graves, and investigate how the spatial location of funerary monuments relates to their functions and meanings within natural and built landscapes. The study consequently asks whether observable variation reflects differentiated social, religious, and cultural traditions. 2. Method The research employs a descriptive-analytical methodology based on systematic archaeological fieldwork and documentary studies. The principal evidence derives from archaeological surveys conducted in Khusf County in 2014 and Darmian County in 2015, during which funerary monuments, shrines, and historical cemeteries were identified, documented, and recorded. Field documentation included architectural recording, identification of construction materials, measurement of graves and structures, geographic positioning using GPS, photography, plan preparation, and interviews with local inhabitants concerning oral histories, monument functions, and identities. Local interviews were treated only as complementary contextual evidence and were interpreted cautiously alongside material and documentary evidence. In total, 12 funerary monuments and six historical cemeteries were documented in Khusf, while 13 funerary monuments were identified in Darmian. Three analytical techniques were employed: structural typology, classifying monuments according to plan, roofing, and dimensions; material analysis, examining the type and provenance of materials used in structures and grave coverings; and spatial analysis, examining the relationship of monuments to natural landscapes and settlement contexts. The resulting patterns were comparatively analyzed and interpreted through the frameworks of mortuary landscape, materiality of death, and ritual variability, supported by historical texts and previous archaeological and architectural studies. 3. Results The findings demonstrate that the mortuary landscapes of Khusf and Darmian comprise a heterogeneous mosaic of funerary traditions rather than a single, uniform system. Two principal structural patterns can be distinguished. The first, dominant in both counties, consists of roofed funerary monuments with domes and square, octagonal, or cruciform plans. Examples include the tomb of Shaykh Shams al-Din and Shaykh Abu Sa'id Khalvati in Khusf and the tomb of Sultan Ibrahim Reza in Darmian. The second pattern, documented particularly in Darmian, consists of enclosed, roofless spaces containing unusually long graves. The Rafiei family funerary enclosure and the graves at Ashk, Darmian, and the shrine of Shaykh Mahmud Qalandar illustrate this tradition. The elongated dimensions of these graves appear to have served as a material means of expressing the elevated status attributed to mystics and revered figures, without requiring monumental architecture. The study also identifies a meaningful association between the titles of the deceased and the scale and complexity of funerary structures. Figures designated as shaykh, pir, qalandar, or sultan, especially Sultan Ibrahim Reza, are associated with more elaborate monuments, whereas tombs associated with religious scholars and figures bearing the title mal are generally smaller and less ornate. Material differentiation is also evident in Khusf cemeteries, where some graves are covered with white flintstone or marble. Although local accounts associate this practice with Sunni communities, the evidence does not permit a definitive attribution; the uniform orientation of these graves toward the qibla indicates that the distinction lies primarily in group marking rather than fundamental religious difference. Spatial location is similarly meaningful: some monuments associated with mystics occupy elevated or visually prominent locations, whereas others associated with scholars lie within ordinary village cemeteries. Finally, 97 inscriptions preserved in four layers of plaster at the tomb of Sultan Ibrahim Reza, with the earliest dating to 990 AH, provide material evidence for approximately 370 years of continued visitation and demonstrate the persistence of mortuary places as active sites of collective memory. 4. Discussion and Conclusion The study shows that the mortuary landscape of Khusf and Darmian was shaped by the coexistence of differentiated material and spatial traditions. The simultaneous presence of domed, architecturally elaborate tombs and roofless enclosures with elongated graves indicates that commemoration was not governed by a single model. Instead, the material treatment of death varied according to the social and religious position attributed to the deceased, local traditions, and patterns of collective memory. The relationship between monument complexity and the titles of deceased figures, together with the exceptional dimensions of certain graves, supports Tainter’s proposition that mortuary investment can provide an archaeological indicator of social status. At the same time, the selection of elevated locations and distinctive grave materials demonstrates that place and material were active components in constructing sacred and group identities. The 97 inscriptions at Sultan Ibrahim Reza further reveal the long-term continuity of visitation and the role of funerary spaces as living repositories of collective memory. Overall, combining mortuary landscape and materiality-of-death approaches makes it possible to move beyond descriptive architectural classification and interpret funerary diversity as evidence of social hierarchy, belief systems, group differentiation, and enduring local memory. فضاهای تدفینی از جمله غنی‌ترین منابع فرهنگ مادی برای شناخت ساختارهای اجتماعی، نظام‌های باور و هویت گروهی جوامع انسانی‌اند؛ زیرا آنچه جوامع برای مردگان خود می‌سازند بازتاب مستقیم جهان‌بینی زندگان است. با این حال، مطالعه‌ی باستان‌شناختی فضاهای تدفینی در ایرانِ دوران اسلامی عمدتاً در حوزه‌ی معماری‌شناسیِ توصیفی باقی مانده و کمتر با رویکردهای نظری مدرن باستان‌شناسی تلفیق شده است. این خلأ نظری در مناطق کمتر‌مطالعه‌شده‌ای چون خراسان جنوبی، که با وجود تنوع چشمگیر بناهای تدفینی تاکنون از منظر باستان‌شناسی مرگ مورد توجه قرار نگرفته، محسوس‌تر است. پژوهش حاضر، با آگاهی از این خلأ و با هدف شناخت الگوهای سازه‌ای و فضایی بناهای تدفینی و تفسیر آن‌ها در بافت فرهنگی و اجتماعی منطقه، به مطالعه‌ی چشم‌انداز تدفینی شهرستان‌های خوسف و درمیان در استان خراسان جنوبی در سده‌های متأخر اسلامی می‌پردازد. پرسش اصلی پژوهش حاضر این است که چه الگوهایی از تنوع سازه‌ای و فضایی در بناهای تدفینی دو شهرستان قابل شناسایی است؟ و این الگوها چه نسبتی با جایگاه اجتماعی و مذهبی متوفا و کارکرد موقعیت فضایی بناها دارند؟ روش پژوهش حاضر توصیفی ـ تحلیلی بوده و داده‌های آن از طریق مطالعات میدانی و کتابخانه‌ای گردآوری شده‌اند. تحلیل داده‌ها در چهارچوب نظری چشم‌انداز تدفینی، مادیت مرگ و تنوع آیینی صورت پذیرفته است. یافته‌های پژوهش نشان می‌دهند که چشم‌انداز تدفینی دو شهرستان، موزاییکی از سنت‌های متمایز است: هم‌زیستی بناهای گنبددار مسقف با فضاهای محصور بدون سقف و قبور کشیده‌ی چند متری مشایخ و عارفان؛ شکل و ابعاد بنا با جایگاه متوفا پیوند معنادار دارد؛ بنای آرامگاهی برخی مشایخ نسبت به بنای آرامگاهی علمای منطقه بزرگ‌تر و پر‌تکلف‌تر ساخته شده است؛ همچنین قبور برخی مزارها نیز بدون سازه‌ی معماری بوده اما جایگاه متوفا را از ابعاد قبر مشخص می‌کردند؛ پوشش برخی قبور با سنگ سفید چخماق در خوسف نیز نشانی از تعلق گروهی است. این موارد بازتاب‌دهنده‌ی تنوع در نظام‌های باور، جایگاه اجتماعی و سنت‌های مادی گروه‌های مختلف ساکن در منطقه‌اند.

http://www.farhangekhorasan.ir/article_251020_2deb6a1c47875887545aabe0a4358c83.pdf

اداره کل فرهنگ و ارشاد اسلامی استان خراسان جنوبی مطالعات فرهنگی اجتماعی خراسان 2676-6116 20 3 2026 04 21 Analysis of the Transformations of the Fish Motif in Mend Gonabad Pottery:Field Research تحلیل نقش‌مایه ماهی در سفال معاصر مند گناباد؛ مطالعه‌ای میدانی 251103 10.22034/fakh.2026.582154.1790 FA بهناز گرمزنژاد کارشناسی ارشد هنر اسلامی (گرایش سفال)، گروه هنرهای صناعی، دانشکده هنرهای صناعی، دانشگاه هنر اسلامی تبریز، تبریز، ایران. 0009-0008-3531-599X عاطفه فاضل استادیار، گروه هنرهای صناعی، دانشکده هنرهای صناعی، دانشگاه هنراسلامی تبریز، تبریز، 0009-0005-7325-5420 Journal Article 2026 05 18 Mend Gonabad pottery is one of the most prominent centers of traditional pottery production in eastern Iran, whose decorative motifs reflect local workshop traditions, indigenous culture, and the accumulated experience of regional potters. Among these motifs, the fish motif occupies a distinctive position within the decorative repertoire of Mend pottery. Accordingly, the present study aims to analyze the formal, stylistic, and compositional characteristics of the fish motif and to identify the recurring design patterns employed in its execution in contemporary Mend Gonabad pottery. This applied research adopts a descriptive–analytical methodology with a qualitative approach. Data were collected in 2025 through documentary research, field observation, photographic documentation, and semi-structured interviews. The study sought to answer two research questions: (1) What are the formal, stylistic, and compositional characteristics of the fish motif in contemporary Mend Gonabad pottery? and (2) Which visual components recur most frequently in the examined samples and can therefore be identified as common design patterns of the fish motif? The statistical population consisted of 82 pottery products collected from 10 active pottery workshops and 14 pottery retail shops in Mend Gonabad. From this population, 15 pottery objects featuring the fish motif were purposively selected for formal analysis. The visual characteristics of the selected samples were examined based on criteria including form, drawing style, composition, motif placement, and the relationship between the fish motif and accompanying decorative elements. The findings indicate that the fish motif in contemporary Mend Gonabad pottery exhibits a relatively consistent formal and stylistic structure. Its principal characteristics include an elongated body, profile representation, bifurcated tail, triangular or angular fins, body segmentation through parallel lines or hatching, and compositions arranged according to the geometry of the vessel in circular, horizontal, or radial layouts سفال مِند گناباد یکی از مراکز شاخص سفال‌گری سنتی شرق ایران است که نقوش تزیینی آن بازتابی از سنت‌های کارگاهی، فرهنگ بومی و تجربه زیسته سفالگران این منطقه به شمار می‌آید. در میان این نقوش، نقش‌مایه ماهی از اهمیت ویژه‌ای برخوردار است. ازاین‌رو، پژوهش حاضر باهدف تحلیل ویژگی‌های فرمی، سبکی وترکیب‌بندی نقش‌مایه ماهی و شناسایی الگوهای مشترک در طراحی و اجرای آن درسفال معاصر مِند گناباد انجام شده است. پژوهش حاضر ازنظر هدف، کاربردی و ازنظر روش، توصیفی–تحلیلی با رویکرد کیفی است. داده‌ها از طریق مطالعات اسنادی، مشاهده میدانی، مستندسازی تصویری و مصاحبه‌های نیمه‌ساختاریافته گردآوری شدند. پژوهش در پی پاسخ به این دو پرسش است: ویژگی‌های فرمی،سبکی و ترکیب‌بندی نقش‌مایه ماهی درسفال معاصر مِند گناباد چیست؟وکدام مؤلفه‌های بصری درنمونه‌های بررسی‌شده بیشترین تکرار رادارند ومی‌توان آن‌ها را به‌عنوان الگوی مشترک طراحی نقش‌مایه ماهی معرفی کرد؟ روش تحقیق توصیفی–تحلیلی است وداده‌ها ازطریق مطالعات اسنادی، مشاهده میدانی و مستندسازی تصویری در سال 1404 گردآوری شدند. جامعه مورد مطالعه شامل 82 محصول تولیدی در ۱0 کارگاه فعال سفال‌گری مِند گناباد و 14فروشگاه محصولات سفالی بود که از میان آن‌ها، ۱۵ نمونه دارای نقش‌مایه ماهی به‌صورت هدفمند برای تحلیل انتخاب شدند.یافته‌ها نشان داد که نقش‌مایه ماهی درسفال معاصر مِند از ساختاری فرمی وسبکی نسبتاً منسجم برخوردار است. مهم‌ترین ویژگی‌های آن شامل فرم کشیده، نمایش ماهی ازنمای نیم‌رخ، دم دوشاخه، باله‌های مثلثی یا زاویه‌دار، تقسیم‌بندی بدنه باخطوط موازی یاهاشور و استقرار نقش متناسب با هندسه ظرف در ترکیب‌بندی‌های حلقوی، افقی و شعاعی است. همچنین، تکرار این مؤلفه‌ها در اغلب نمونه‌ها، همراه با هم‌نشینی نقش ماهی با عناصر گیاهی، بیانگر وجود الگویی مشترک در طراحی و اجرای این نقش‌مایه درمیان سفالگران مِنداست. نتایج پژوهش نشان می‌دهدکه نقش‌مایه ماهی، با وجود تفاوت‌های جزئی درشیوه اجرای هنرمندان، ازیک زبان بصری مشترک ونسبتاً پایدار پیروی می‌کندکه بر پایه سنت‌های کارگاهی مِند شکل گرفته و درتولیدات معاصر این منطقه تداوم یافته است.

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اداره کل فرهنگ و ارشاد اسلامی استان خراسان جنوبی مطالعات فرهنگی اجتماعی خراسان 2676-6116 20 3 2026 07 23 Analysis of Ibn Hossam Khusfi's Mystical Poems Based on Jung's Archetypes تحلیل غزلیات و اشعار عرفانی ابن‌حسام خوسفی بر مبنای کهن‌الگوهای یونگ 250540 10.22034/fakh.2026.577721.1782 FA علی اکبر محمدی استادیار زبان و ادبیات عربی دانشگاه بیرجند 0000-0002-2432-1306 محمدرضا میدان نورد دانش آموخته کارشناسی ارشد زبان و ادبیات عربی، دانشگاه بیرجند، دانشکده ادبیات و علوم انسانی، بیرجند، ایران 0000-0002-2432-1306 Journal Article 2026 02 23 Extended Abstract 1. Introduction Archetypal criticism is one of the new approaches in literary criticism, established based on the ideas of Carl Gustav Jung (1875-1961), the Swiss psychologist. This approach examines the archetypes present in a literary work and demonstrates how the poet's mind has absorbed these archetypes—products of repeated human experiences residing in the collective unconscious—and expressed them symbolically. What distinguishes Jung's insight from that of other psychologists is his exploration into the realm he termed the "collective unconscious" (Stein, 2022, p. 165). The collective unconscious, located in the deepest layers of the psyche, remains unknown to the individual and serves as a repository of racial memories and all experiences repeated throughout human evolution (Maghsoudi, 2020, p. 14). Archetypes, as the constituent elements of the collective unconscious, are primordial patterns and forms that have existed in the human psyche since ancient times, influencing behaviors and actions (Shamisa, 1997, p. 24). The unconscious manifests itself through myths, and just as the human psyche contains specific archetypal elements, myth—as a product of the psyche—holds shared values. Jung, through meticulous examination of myths, literature, and folktales from various cultures, described archetypes such as Persona, Self, Anima, Animus, Wise Old Man, Shadow, and Great Mother. According to Jung, "art and literature, like dreams, are places where archetypal images and the collective unconscious manifest" (Jamzadeh, 2013, p. 25). Ibn Hossam Khusfi, a pioneer of religious epic poetry, paid considerable attention to archetypes in his works, particularly his ghazals, and by drawing inspiration from religious and mystical texts, he gave new expression to these archetypes. The present study seeks to answer the following questions: What are the most prominent archetypes in Ibn Hossam's ghazals, and what influence have they had on the meaning of his poetry? What symbolic meanings do the archetypes used in Ibn Hossam's ghazals carry? 2. Method This research employs a descriptive-analytical method based on an interdisciplinary approach, combining literary criticism and analytical psychology. The statistical population of the study consists of the ghazals of Ibn Hossam Khusfi (d. 875 AH/1470 AD), a 9th-century Persian poet from the town of Khosf in the Qohestan region. The primary source examined is the Divan of Mohammad bin Hessam Khosfi, edited by Ahmad Ahmadi Birjandi and Mohammad Taghi Salek (1987). The study focuses specifically on the ghazals, as they represent the most significant portion of his lyrical poetry. Data collection was conducted through library research and documentary analysis, with the selected ghazals being examined for archetypal content. The analysis was carried out through close reading of the texts, identification of archetypal patterns based on Jung's theoretical framework, and interpretation of the symbolic meanings embedded in the poetic imagery. The study draws upon Jung's key concepts—including the collective unconscious, archetypes, individuation, and specific archetypes such as the Wise Old Man (Pir-e Kherad), Anima, Shadow, Persona, Rebirth, and Great Mother—to analyze and interpret Ibn Hossam's poetry. The research does not rely on statistical or quantitative methods but instead applies qualitative hermeneutic analysis to uncover the archetypal dimensions of the poems. 3. Results The findings reveal that Ibn Hossam's ghazals are rich in archetypal content, with six major archetypes prominently manifested: a) Wise Old Man (Pir-e Kherad): This archetype appears in the form of prophetic figures such as Adam, Joseph, Jacob, Job, Moses, David, and especially Khidr. The poet portrays the spiritual journey as impossible without the guidance of an inner sage. Khidr, associated with the Water of Life and emerging from a "dark place," symbolizes the wise guide who appears in times of hardship and facilitates spiritual rebirth (Ibn Hossam, 1987, p. 367). b) Anima: The feminine archetype in Ibn Hossam's poetry manifests as an exalted, heavenly beloved. The poet's inner anima is depicted through symbols such as the beloved's dark hair, black eyes, the moon, the sun, stars, and the color red. Nighttime settings, where the beloved's image appears in the poet's imagination, represent the connection to the unconscious. The beloved's face is described as brighter than the sun, and her eyes serve as a gateway between consciousness and the unconscious (Ibn Hossam, 1987, pp. 309, 311, 331). The poet's love—often associated with Imam Ali (AS)—represents a transcendent, spiritual love that leads to self-realization. c) Shadow: This archetype appears through negative traits such as greed, arrogance, hypocrisy, and worldly attachment. Ibn Hossam uses animal symbols like the fly, which feeds on filth, to represent the shadow self. The rust on the mirror of the soul symbolizes the shadow's obscuring effect on self-knowledge. The poet emphasizes the need to purify oneself from these negative qualities through contentment, humility, and spiritual discipline to achieve individuation (Ibn Hossam, 1987, pp. 314, 323, 341). d) Persona: The social mask appears in the form of false piety and hypocrisy, particularly in the figure of the "unworthy Sufi" (Sufi-ye na-darvish) who wears the cloak of asceticism but lacks genuine spirituality. Love, in Ibn Hossam's view, destroys this false persona and reveals the true self. The poet criticizes those who hide their true nature behind the mask of religiosity (Ibn Hossam, 1987, pp. 306-307, 344). e) Rebirth: This archetype manifests through symbols of death and renewal, including dust/earth, water, fire, and the mythical salamander. The poet emphasizes human creation from dust and the eventual return to it, with the potter's clay symbolizing the cycle of life and death. Water represents divine grace that brings spiritual life, while the salamander, which endures fire and emerges unscathed, symbolizes spiritual purification and rebirth through trial (Ibn Hossam, 1987, pp. 309, 337, 356-357). f) Great Mother: This archetype appears in symbolic forms such as the well (associated with Joseph), the garden, paradise, and negative aspects like the whale and whirlpool. The well, as a womb-like space, represents death and rebirth—Joseph's descent into the well precedes his rise to power. The garden symbolizes nurturing and growth, while paradise represents the ultimate maternal sanctuary. The whale, which swallowed Jonah, represents the devouring aspect of the mother archetype (Ibn Hossam, 1987, pp. 333, 337, 349, 359, 364). 4. Discussion and Conclusion The analysis demonstrates that Ibn Hossam Khusfi, influenced by his religious beliefs and mystical worldview, embedded a rich tapestry of Jungian archetypes in his ghazals. These archetypes function as transformative forces: they serve as "midwives" that give birth to the poet's spiritual insights while simultaneously forming an inseparable part of the overall fabric of his poetry. The archetypes are rooted in religious and mystical beliefs, natural symbols, and the poet's cultural heritage. Ibn Hossam's use of archetypal figures such as Khidr, Joseph, and Moses, alongside symbols like water, fire, the moon, and the sun, reflects a profound engagement with the collective unconscious. The poet's spiritual journey—from confronting the shadow to embracing the anima and seeking guidance from the wise old man—mirrors Jung's process of individuation. The study concludes that Ibn Hossam's poetry not only expresses his personal mystical experiences but also taps into universal archetypal patterns that resonate across cultures. This research contributes to the growing field of interdisciplinary studies between literature and psychology, demonstrating the applicability of Jungian analysis to classical Persian poetry. Future studies could explore archetypal dimensions in other works of Ibn Hossam, such as the Khavaran-nameh, or compare his use of archetypes with that of other mystical poets like Rumi or Attar. Additionally, examining the cross-cultural dimensions of these archetypes could yield valuable insights into the universality of Jung's theories. نقد کهن‌الگویی از رویکردهای جدید نقد ادبی است که براساس آرای کارل گوستاو یونگ (1961-1875م)، روان‌شناس سوئیسی، بنا شده است. در این نوع نقد به بررسی کهن‌الگوهای اثر پرداخته می‌شود و سپس نشان می‌دهند که به چه نحو ذهن شاعر این کهن‌الگوها را، که محصول تجربه‌های مکرر بشرند و در ناخودآگاه جمعی قراردارند، جذب و آن‌ها را به شیوه‌ای نمادین به نمایش گذاشته است. شاعران در هیچ دورهای از تاریخ ادبیات ملل بینصیب از این رویکردهای ادبی نیستند و میتوان با این خوانش ادبی آرا و اندیشه‌ی آنان را نقد و تحلیل کرد. ابن‌حسام خوسفی که پیشگام حماسهسُرایی دینی بهشمار میرود، در سروده‌های خود، به‌ویژه غزلیاتش، به کهن‌الگوها توجه بسیار داشته و برای ژرفا بخشیدن به معانی شعر خود، با الهام از متون دینی و عرفانی، بر این کهن‌الگوها جامه‌ای نو پوشانده است. در این پژوهش، که به روش توصیفی _ تحلیلی و مبتنی بر رویکرد روان‌شناختی صورت پذیرفته، به این پرسش اساسی پرداخته می‌شود که مؤلفه‌های کهن‌الگویی یونگ در غزلیات ابن‌حسام خوسفی چگونه بازتاب یافته است؟ براساس یافته‌های پژوهش، کهن‌الگوها، در غزلیات ابن‌حسام، در قالب پیکره، نوعی اسطوره‌های عرفانی می‌آفرینند که این اسطوره‌ها از یک‌سو، در نقش قابله و ماما، تفکر و اندیشه‌های نوزاد شاعر را متولد می‌کنند و از سویی دیگر، جزئی جدایی‌ناپذیر از کلیت شعر ابن‌حسام به شمار می‌آیند که بیشتر ریشه در باورهای دینی و عرفانی و همچنین نمادهای طبیعی و جلوه‌های گوناگون آن دارد.

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اداره کل فرهنگ و ارشاد اسلامی استان خراسان جنوبی مطالعات فرهنگی اجتماعی خراسان 2676-6116 20 3 2026 04 21 Matching text and image in a selection of illustrations from the illustrated version of Khavaran Nameh (kept in the Golestan Palace-Museum تطبیق متن و تصویر در منتخبی از نگاره های نسخة مصور خاوران نامه (محفوظ در کاخ- موزة گلستان) 250756 10.22034/fakh.2026.590897.1804 FA فاطمه نخعی دانشجوی کارشناس ارشد هنر اسلامی، دانشگاه بیرجمد، بیرجند، ایران. 0009-0004-0028-5242 محمد امین حاجی زاده استادیارگروه فرش، دانشکده هنر، دانشگاه بیرجند، بیرجند، ایران 0000-0002-1435-5270 مریم عظیمی نژاد استادیارگروه صنایع دستی، دانشکده هنر، دانشگاه بیرجند، بیرجند، ایران. 0000-0003-4766-0287 Journal Article 2026 07 11 Introduction The Khavaran Nameh, a religio-epic masnavi composed by Ibn Ḥusam Khusfī in the 9th/15th century, represents a valuable exemplar of this text‑image interaction. Inspired by Firdawsi’s Shahname and imbued with Shiei content, the work poetically recounts the heroic deeds of Imam ʿAli (pbuh) and his companions. The significance of the Khavaran Nameh lies not only in its literary and doctrinal dimensions but also in its illustrated manuscripts, which visually reflect religious and epic themes. The present research aims to analyse and juxtapose the text of the Khavaran Nameh with selected miniatures from this copy, investigating how epic and religious concepts are visually represented. To this end, three paintings from the manuscript are evaluated in terms of narrative content, pictorial structure, and their correspondence with the verses of the original poem, in order to assess the degree of text‑image concordance in the said copy. A comparative study of text and image in illustrated works enables an inquiry into the visual re‑creation of literary themes and an analysis of the artists’ stylistic devices, thereby underscoring the role of miniature painting in conveying meanings and fostering a dialogue between art and literature. Accordingly, this research pursues two objectives: (1) to examine the text‑image relationship in the illustrated Khavaran Nameh (the copy preserved at the Golestan Palace Museum), and (2) to identify the modes of representing literary concepts through visual means. It thus addresses the following question: How is the correspondence between text and image achieved in the miniatures of this illustrated copy? Methods The present study is fundamental in nature, conducted through a descriptive‑analytical method with a comparative approach, and its data have been gathered via documentary research. The research corpus comprises 15 miniatures from the illustrated Khavaran Nameh, which have been qualitatively analysed and compared; the results of three selected paintings are presented in the main body, while the remaining cases are assessed in the appended tables. Results An examination of the miniatures in the illustrated Khavaran Nameh reveals that Imām ʿAlī (pbuh)—as the central protagonist of the narrative—constitutes the most pivotal element shaping the pictorial structure of the work. In the majority of the paintings, the compositional arrangement, the positioning of figures, the directional flow of events, and the symbolic depiction of the Imām are all orchestrated so as to direct the viewer’s gaze toward him. This indicates that the illustrator, much like the poet, endeavoured to sustain and visually project the pre‑eminent status of Imām ʿAlī as the principal hero of the story. His presence across most miniatures—whether in battle scenes or in non‑combative gatherings and events—underscores his central role in organising the visual narrative. Through devices such as a central placement, larger figural scale, the orientation of glances and movements of other characters, and the use of visual markers like a fiery halo, the painter emphasises the Imām’s prominence and sanctity. These features enable the paintings not only to narrate events but also to reflect the spiritual and heroic stature of Imām ʿAlī. Conversely, regarding the forces of evil (the enemy), the majority of the examined samples display pictorial characteristics that highlight the painter’s emphasis on the triumph of good forces (Imām ʿAlī and his companions) over evil forces (the adversaries) through a narrative‑visual antithesis. Furthermore, in most instances, the visual‑narrative space is situated within the battlefield. Discussion and Conclusion Concerning the degree to which the painter adheres to the verses of the Khavaran Nameh, the analysis of the miniatures indicates: · Character‑text correspondence is achieved to a considerable extent, primarily focusing on the visual representation of the attributes of Imām ʿAlī and his companions. · Action‑text correspondence is realised at the highest possible level, with the painter referencing the majority of the concepts contained in the poem. Space‑text correspondence has also received considerable attention, and, within the constraints of pictorial exigencies, a relatively complete visual rendering of the setting has been achieved. · The overall correspondence between image and text within the studied corpus demonstrates a maximal adherence of the visual elements to the literary content, indicating the painter's fidelity to the verses of the Khavaran Nameh—to the extent that the majority of concepts alluded to by the poet are visually articulated. Nevertheless, the painter has exercised creative liberty in rendering scene details, selecting the visual perspective, and choosing the narrative point of view. In sum, the findings of the present research indicate that the miniatures of the Khavaran Nameh, through a measured integration of narrative elements, complementary components, and epic motifs, have succeeded in presenting a coherent visualisation of the story; while remaining faithful to the text, they simultaneously demonstrate the expressive capacities of Persian miniature painting. نسخه‌ی مصور خاوراننامه، محفوظ در کاخ موزه‌ی گلستان، یکی از ارزشمندترین آثار نقاشی ایرانی در مکتب هنری شیراز و در دوره‌ی ترکمانان است. اشعار این نسخه توسط شاعر قرن نهم هجری، ابنحسام خوسفی، سروده شده و مضمون آن شرح رشادتهای حضرت علی(ع) و یاران آن حضرت در سرزمینهای خاوران است. از منظر هنر ایرانی- اسلامی، نگارگری نقشی فراتر از تصویرگری و تزئین دارد و به‌عنوان زبانی بصری برای بازتاب مفاهیم ادبی، مذهبی و اخلاقی عمل میکند. ارتباط میان متن و تصویر، در نسخههای مصور، نشاندهنده‌ی هماهنگی دقیق بین روایت کلامی و بیان بصری است. مطالعه‌ی تطبیقی میانِ متن و تصویر در آثار مصور، امکان بررسی چگونگی بازآفرینی مضامین ادبی در بستر تصویری و تحلیل شیوههای هنری نگارگران را فراهم میآورد و نشانگر اهمیت نگارگری در انتقال مفاهیم و ایجاد تعامل میان هنر و ادبیات است. براین‌اساس، پژوهش حاضر با هدف تطبیق رابطه‌ی میان متن و تصویر در نسخه‌ی مصور خاوران‌نامه (نسخه‌ی محفوظ در کاخ ـ موزه‌ی گلستان) و همچنین شناسایی روش‌های بازنمایی مفاهیم ادبی در قالب تصویری و در پی پاسخ به این پرسش است: تطابق متن و تصویر در نگارههای نسخه‌ی مصور خاوراننامه چگونه صورت گرفته است؟ پژوهش پیشرو از نوع بنیادین است که به شیوه‌ی توصیفی- تحلیلی و با رویکرد تطبیقی انجام شده و دادههای آن به روش اسنادی جمعآوری شده است. جامعه‌ی پژوهش شامل 15 نگاره از نسخه‌ی مصور خاوراننامه است که به روش کیفی مورد تحلیل و تطبیق قرار گرفته است و نتایج 3 نمونه از نگارههای منتخب در پژوهش آورده شده و مابقی در جداول پایانی مورد ارزیابی قرار گرفته است. نتایج حاصل‌شده نشان میدهد که نگارگر با بهرهگیری از عناصر بصری، چون ترکیببندی بصری، هارمونی رنگی و شخصیتپردازی دقیق، سعی در بازآفرینی تصویری روایت حماسی و مذهبی متن داشته است؛ به‌طوری که نگارگر غالباً اوج روایت و نقاط عاطفی و حماسی داستان را برای تصویرگری برگزیده است. نگارگر خاوران‌نامه، با تلفیق وفاداری به متن و خلاقیت بصری، اثری پدید آورده که بازتاب‌دهنده‌ی پیوند عمیق میان نگارگری و ادبیات حماسی در هنرایران- اسلامی است.

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اداره کل فرهنگ و ارشاد اسلامی استان خراسان جنوبی مطالعات فرهنگی اجتماعی خراسان 2676-6116 20 3 2026 04 21 A survey of the challenges of the Shokatiyeh Nisvān School in Birjand from 1300 to 1314 A.H. بررسی چالش‌های مدرسه شوکتیه نسوان در بیرجند از 1300 تا 1314 ش. 235309 10.22034/fakh.2025.542810.1760 FA علی نجف زاده استادیار گروه تاریخ/ دانشکده ادبیات و علوم انسانی دانشگاه بیرجند 0000-0002-6147-511X Journal Article 2025 08 25 Modern schools were a cultural phenomenon in Iran during the late Qajar period, which expanded despite numerous challenges after the Constitutional Revolution and were even established in some more distant areas such as Birjand. Shokatiyeh School was the first modern school in Birjand, established in 1325 AH. Fifteen years later, the first girls' school in Birjand was established, called "Shokatiyeh Nisvān," which had more problems than the boys' school. No research has been conducted so far on the various problems of this school. Therefore, the present study, relying on the documents of the Astāne Quds Razavi Document Center and using the historical research method (descriptive-analytical), will address the most important challenges of the first girls' school in Birjand in the first 14 years of its operation in order to answer the research questions. What were the most important challenges of the Shokatiyeh Nisvan School? Where did the Shokatiyeh Nisvān challenges originate from? And how were they resolved? The present study showed that cultural, financial, and administrative challenges were the most important problems of Shokatiye Nisvān. Shokat al-Mulk II, his mother, and some clerics played an important role in solving the problems of Shaukatiya Nesvān. The lack of local expertise was another challenge that was solved by employing managers such as Tuba Mahmoudi, Hakim Elāhī, and Prince Abu al-Moluki. Non-native managers faced various financial problems due to not receiving their salaries on time. The use of female teachers to teach French was another challenge that led to the hiring of Russian women. The weak financial structure and inconsistency in the payment of salaries to principals and teachers, and the unfamiliarity of some native teachers with the educational structure were other educational challenges at Shokatiye Nisvān, which were reduced after the school was integrated into public schools مدارس نوین از پدیده‌های فرهنگی ایران اواخر دوره‌ی قاجار بودند که با وجود چالش‌های متعدد بعد از انقلاب مشروطه گسترش یافتند و حتی در برخی مناطق دورتر نظیر بیرجند نیز دایر شدند. مدرسه‌ی شوکتیه اولین مدرسه‌ی نوین بیرجند بود که در 1325ق/1285ش تأسیس گردید. پانزده سال پس از آن اولین مدرسه‌ی دخترانه‌ی بیرجند با نام شوکتیه‌ی نسوان دایر شد که مشکلات بیشتری نسبت به مدرسه پسرانه داشت. تاکنون درباره‌ی مشکلات مختلف این مدرسه تحقیقی صورت نگرفته است. از اینرو، پژوهش حاضر با تکیه بر اسناد مرکز اسناد آستان قدس رضوی به بررسی مهم‌ترین چالش‌های اولین مدرسه‌ی دخترانه‌ی بیرجند (در 14 سال اول فعالیتش) اختصاص یافته است. نتایج حاصل از این پژوهش، که با روش پژوهش تاریخی و به شیوه‌ی توصیفی- تحلیلی انجام شده، نشان می‌دهد چالش‌های فرهنگی، مالی و اداری مهم‌ترین مشکلات شوکتیه‌ی نسوان بود. شوکت‌الملک دوم همراه با مادرش و برخی از علما نقش مهمی در حل مشکلات شوکتیه‌ی نسوان ایفا کردند. فقدان نیروی متخصص بومی چالش دیگری بود که با استخدام مدیرهایی چون طوبی محمودی، حکیم الهی و شاهزاده ابوالملوکی حل شد. مدیران غیربومی به خاطر عدم دریافت به‌موقع حقوق دچار مشکلات مالی مختلف شدند. استخدام معلم‌هایی برای تدریس زبان فرانسه چالش دیگری بود که به استخدام زنان روسی آشنا به این زبان منجر شد. ساختار ضعیف مالی و ناهماهنگی در پرداخت حقوق مدیران و معلم‌ها و ناآشنایی برخی معلمان بومی با ساختار آموزشی و کم‌تجربگی آنان از دیگر چالش‌های آموزشی شوکتیه‌ی نسوان بود که تنها پس از ادغام این مدرسه در مدارس دولتی کاهش یافت.

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