Rereading of the "Day of Judgment" Painting of Falnama of Shah Tahmasp by Examining the Role of Tradition and Imagination in Ibn Sina's Perspectives

Ibn Sina's philosophical framework gives particular consideration to narrative and creativity. He regarded the meaning of physical punishment for humans on the day of Judgment as one of the symbols and signs and embraced the physical resurrection based on religious narrative. In other words, Sheikh did not place the centrality on evaluating, rejecting, and accepting issues in general, and religious issues in particular, intellect and rational perception, and he stressed that if the rational argument fails to prove some cases, it is not the reason that it is impossible. This was done based on hermeneutic insight. Ibn Sina, therefore, took a dualistic perspective on resurrection and, despite his faith in a spiritual resurrection, thought the bodily resurrection was conceivable. He thought that the Qur'anic verses' descriptions of the bodily punishment of the Resurrection, which were intended to be as near to general comprehension as possible, were mysterious and concise. Because they cannot fathom that it is impossible to vote, the general public can better comprehend the position of those who are crammed. He made the first distinction between fantasy and imagination concerning the power of imagination, describing it as a creative and inventive power with the capacity to grasp shapes and meanings. This difference enables the imagination to create forms that have no analogs outside of the imagination and to create new forms from those it has already saved. However, imagination requires the assistance of an engaged mind to translate logical ideas into tangible shapes. The power of imagination restricts the active intellect's ability to conjure up tangible representations of sensible ideas and capture their pictures and meanings.
Another important subject for supporting the representation of religious topics like the Day of Judgment is the continuity of narration and imagination in the painter's eyes. This Day is a day that makes the earth and the man stands before God with his actions, and God says: We have bound the actions of every human being to him eternally, and we will bring out writing for him, which he will see open before him.
This study aims to identify instances of the imagination used by the painter to depict the visual substance of human behavior on the day of judgment, on the one hand, and to provide direction for Qur'anic allusions and allegorical expressions of verses, on the other. What strategy has the painter used in the face of narrative and fantasy in the concrete depiction of plausible ideas in the context of resurrection day, given the importance of this question? To adequately respond to this question, it is important to consider Ibn Sina's viewpoints in light of his in-depth discussion of the power of imagination and to take an interpretive perspective on the subject of bodily revival. A painting named "Day of Judgment" was selected in this direction to tie the two study areas of Ibn Sina's views and the art of painting in the framework of narrative and imagination. This image with the same title was portrayed in the Falnamah book and during the Safavid. This volume, which Shah Tahmasab ordered illustrated, is a compilation of horoscopes associated with stars and constellations that have a devotional bent. One of the few artworks from the Ilkhanid to Safavid eras that depicts the Day of Judgement is the cover of "Judgment Day." More significantly, the visual components are based on Shiite religious themes, which are significant Safavid era characteristics. However, when contrasting these two images, the image selected for the current study has portrayed increasingly comprehensive descriptions; this difference was the basis for the image selection.
With the aid of library resources and a descriptive-analytical research methodology, the current study examined the aforementioned subjects and the results of the studies are as follows:

In addition to having a semantic connection to representing the circumstances of the day of Judgement, the interior space of the image is based on a narrative arrangement from top to bottom, and it symbolically refers to the sacred position of prophets, imams, and sinners as well as their true high and low status.
The eleven imams are depicted in Shafaan's posture without any characteristics resembling those of regular persons, and the ambient light is replaced by the typical features of face art, such as eyes, eyebrows, etc. This holy blaze serves as a metaphor for the illumination of wisdom that God has bestowed upon the unadulterated institution of the infallible imams. Meanwhile, the body of Fatimah has a remarkably unique pattern that shows that, in addition to her cranium, the entirety of her being is encircled by sacred light, demonstrating both her essence and her luminous nature. This symbolic portrayal, which shares a close semantic relationship with the Qur'anic reference to her as "Zahra," or "light," indicates the significance of the artist's transfer and approval of Shiite readings.
The relationship between face and meaning has developed in the posture of observers as a result of the accumulation of vertical visual factors. In this way, the scale's face, which also alludes to the establishment of homeostasis and balance, is linked to the vertical visual forces, which have meanings like establishment, balance, and stability. The combination of these two formal and lexical allusions with the physical appearance of Hazrat Muhammad and Hazrat Ali, whose bodies serve as the Qur'anic yardsticks for measuring human behavior on the Day of Judgment, which is one of the significant outcomes of the painter's use of narrative and imagination in his or her creative and sacred vision. The combination of the color of the sacred flame of the Prophet and Imam Ali with the color of the holy flame of the innocent imams, who were in the position of the intercessors, is another logical idea that can be seen in the position of the assessors. This in turn alludes to the reality of Noor Muhammadiyah on the one hand and the Imams' descendants on the other.
The Qur'anic passages and Shia interpretive sources served as the painter's inspiration for depicting the offenders in the position of those who are tallied. His creative ability successfully creates combos that are appropriate for the circumstances specified for the evildoers by entering and filling the forms and meanings kept in the power of imagination and memory. In addition to depicting the condition of evildoers, rather than painting some of their features dark, the audience has also been made aware of the ugliness of the actions, and in this way, it also depicts quality problems.
The incorporation of the awoken in the amazement of the eight groups of offenders with the high rank of imams at the top of the image is put in the bottom portion of the image in a clear semantic comparison.

The most significant of these are distinct and covered faces, open and regretful faces, radiant faces with a holy flame, black and dark faces, placement in Paradise and next to the Tuba tree, placement in the barren and barren desert, women dressed in colorful societies, naked upper bodies and shrouded lower bodies, and others. This conflict between the positions and ranks of the innocent imams and the evildoers has also been represented in other open confrontations.