Ritual of Var in the Miniature of Siavash Ppassing of Fire

Analysis of Var Rituals in the Miniature of Passage of Siavash through Fire With no doubt, since the miniature formed in any civilization are rooted in their believes and thoughts of that era, on one hand, and decoding the arts coming from those beliefs is not possible unless knowing those beliefs; in the other hand, this paper tries to study one of the most ancient human beliefs; known as Var Ritual and the reflection of this thought in Iranian picturing art. To achieve this goal, the author has tried to decode Var Ritual in both form and contents terms in past period to the present and studies various viewpoints in this tradition in different groups of people and plans to reach the mental and social theme explain a proper and comprehensive features of the reasons of trusts to this tradition for the reader. It has then classified different types of Var and has chosen "Fire Var" due to its more importance and complication and its reflection has been studied in the myth of Siavash's passage through fire to prove his innocence. The author tries to define the inner side of cultural them of fire, follow the trace of this thought in eastern figuration art and by analyzing the a figure that contain the contexts of passing through fire, Var and Ordeal, recognize the deep effect of mythological insight of fire element. Due to the high status of Ferdowsi's Shahnameh as a historical, literary and mythical piece. This myth has been discussed in terms of imaging in Iranian manuscripts and the legend has been studied in Shahnameh of 1332 AD, remained from Ale—Injou period, Shiraz school. By analyzing the structure and conception analysis, the author has tried to achieve the quality of art's encounter with this belief and its artistic visualization in the art pieces. The result is that, although the roots might have been faded in the lapse of history, its realization in painting arts has survived as a picturing tradition. This tradition in terms of quality of encountering the artist with the color and using color meanings in both better transfer of the concept of Var Mythical ritual and in terms of contract with art and form and figure of fire flames could be subjects of contemplation and revision. The result of this research is that, the Iranian artist, due to his Zoroastrian has received much deeper impacts from the mythological perspectives of fire and those themes are clearer and more organized in the Iranian figurative arts. The author has investigated more than 50 miniatures in Var ritual contexts and has proved the authenticity of his theory on the existence of Var imaging tradition. By the figurative critiques of the figure on one hand and analyzing various faces of fire, on the other hand, the author concludes that the Islamic-Iranian painter has been making a clear distinction between different fires such as hell fire, heavenly fire, divine fire and even the sacred-type fire light and this distinction could be clearly seen in the visual arts.