Saqhi Nameh is one of the subjects of mystical literature that has a long history in Persian poetry. Saqhi Nameh includes verses addressed to the butler and asking for "May" from him in order to discover the secrets of the world and pay attention to the impermanence of the world and seize the opportunity. In this type of poetry, Nezami was an early pioneer, and Hafez, in his independent Masnavi "Saqhi Nameh", like in his other mystical poems, tried to display mystical teachings in the form of flirting with the butler and asking for the true wine from him. Divine love is one of the main sources and spiritual reserves of Hafez's poetry. For Hafez, poetry, love and romance are a kind of artistic conduct and one of the greatest values. The subject of divine love is loving the eternal and eternal beloved, that is, the Holy Essence of the Almighty. His poetry is full of wisdom and spirituality, which is often presented in the literary form of a ghazal; Because a ghazal is a kind of flirtation with the beloved, and the poet-artist describes. this love in the shortest verses, in a concise manner, and by using metaphors and imagery
In different periods, Iranian painters have rarely used the Saqhi Nameh as a motif for their works. However, Iranian painting has deep roots in religious beliefs and beliefs, and Sufism has been a subject of Iranian painting that has become very popular since the Timurid period. Painters such as Kamal al-Din Behzad and in later periods Sultan Mohammad, Agha Mirak and others created paintings with mystical themes and issues that, in their hidden angles, also express the anthropological characteristics and events of the artist's era. Among them, Kamal al-Din Behzad, who was himself a mystic and follower of Naqshbandi Sufism, tried to display sublime themes and mystical behavior in his works with a strong spiritual sense. Therefore, in his works, we can see various types of symbolism and metaphorical expression of mystical themes in the form of shape and color, and this type of use of language and mystical expression in the form of painting works continued as a tradition among his students and followers, leading to the formation of the Kamal al-Din Behzad art school. In contemporary times, artists, using this tradition and sometimes with contemporary expression, are attempting to visually translate deep mystical themes. Among these artists, we can mention Dr. Mina Sadri, whose diverse works demonstrate the continuity of Kamal al-Din Behzad's tradition in creating mystical themes.
Iranian painters have paid attention to mystical themes and teachings in various periods, and although depicting such spiritual themes was a difficult task, they tried to create works with symbolic language and expression to be a visual translation of such themes. In the contemporary period, artists, following the ancient artistic traditions of Iran, have also paid attention to mystical themes and created works with symbolic expression, such as Mina Sadri's "Saghi Nameh Painting" among these works. This article attempts to examine the Saghi Nameh painting in terms of structure and content, and to examine how the poems of Hafez's Saghi Nameh are visually translated. Therefore, the present study seeks to answer these questions: What are the visual and aesthetic values of Mina Sadri's Saghi Nameh painting? And what is the semantic relationship between this painting and Hafez's Saghi Nameh?
This research is of fundamental research type in terms of purpose and descriptive-analytical method in terms of method. The results of this research indicate that the artist, following the aesthetic traditions of ancient Iranian painting in depicting mystical themes that are full of legal and mystical signs, has created a work and tried to display the truths contained in Hafez's Saqhi Nameh poetry, including attention to the true Saqhi Nameh, that is, God, the pursuit of ability through journey and conduct, and the acquisition of spiritual degrees in the three parts of Saqhi Nameh, Mughni Nameh, and Sufi Nameh. He has tried to display a new and at the same time rooted expression by combining mystical themes and concepts with Islamic and Quranic teachings and create a work that can be a visual translation of Hafez's Saqhi Nameh.
By examining Mina Sadri's Saqhi Nameh painting and in response to the first question, it should be noted that the artist, paying attention to and following the visual traditions and aesthetics of ancient Iranian painting in depicting sublime mystical themes, has tried to display the themes and points of mysticism found in Hafez's Saqhi Nameh poems with the language and expression of Iranian painting. Also, in response to the second question of the research, it was concluded that the artist, considering selected verses from Hafez's Saqhi Nameh, represents his painting in three parts: Saqhi Nameh, Mughni Nameh, and Sufi Nameh. Influenced by the artistic school of Kamal al-Din Behzad, the artist seeks to best bring to the fore the legal and mystical concepts of mystical literature, and in particular, Hafez's Saqhi Nameh, in his painting.