Semiotic of the fish with approach mystical in three examples of contemporary s pottery (case study MAND GONABAD)

  The indissoluble link between literature and art has led to the introduction of literary subjects to Islamic art decoration. Among these themes is the fish that has been of interest to artists of various fields and literature for a long time nowadays due to the deep mystical and symbolic themes. This research, of qualitative and descriptive-analytical type, attempts to extract the mystical content of fish in the poetry of Maulana (Masnavi-i-Mouwani) in order to analyze its reflection in the art of pottery of contemporary age by mystical approach. In order to achieve this goal, the most important question is as follows: The role of fish in the works of contemporary ceramics can be particularly affected by Rumi's poetry is mystical themes? Based on the information analysis that was performed by the interpretive method, it was discovered that this element is the bearer of mystic meanings and is considered as a complete man and paradise in the works of the contemporary era. Painting and painting used in the history of pre-Islamic and post-Islamic history has always been proven, the culture and originality of various ethnic groups are known as allegories. Created symbols have a close relationship with the stories, myths, and the likes of this country. In the meantime, the design of fish in the Iranian world has a special place, and the beauty and breadth of this role has created a beautiful reflection on the clay, however, there is no exact history of the presence of this role. Roaming roles such as the Swastika, the Alas, the Birds and the Bulls are the most used Iranian designs that represent the artist's world-view of the being and the entity that views it as the kingdom of the world through the beauty of this world. Persian literature and poetry have been effective in cultivating the artist's minds and have played a significant role in the emergence of pure and lasting works. In this regard, Rumi Jalal al-Din Balkhi has used the simple language of the role of fish in his poems to describe his mystical themes and transfer it as best as possible to the audience. The Iranian artist has also used the role of the Iranian soul for many years, but, unfortunately, this role in the pottery, except for limited cases in Gonabad, can be met, and the city of Esfahan's pleasure deserves proper documentation we are not in hands. In Iranian literature and poetry, the presence of fish has been abundantly used. In the poems of Rumi, we see the symbol of fish in two forms: one, a sailor who wants to reach the divine sea, and another, a perfect man sinking in the divine sea. Because the perfect man never needs more perfection, it is well represented by the symbol of the fish that constantly asks for water. The goal, the attainment of the seeker, is the perfect inner man, which, as Jung says, is an image of God. The fish does not get tilled and does not separate from the sea. Certainly, the symbolic meaning of the sea helps to understand the concept of fish encoding.