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Regarding the relation between art and myth, in order to express the root of Islamic - Iranian art, myth has been searched through Quranic verses. It is understood from the Quranic and Islamic culture that the concept of “āsatīr-ol-avalīn” (prior myths) contains a negative meaning, lacks approving truth, and has no external or even historical reality. On this basis, any adaptation and comparison of Quranic narratives, teachings and principles with myth is a wrong process. So it is criticized there when the Word of God is called “The Fables of the Ancients or Old World Tales” by polytheists and pagans. In this essay, by analyzing the concept of myth in Islamic tradition and the etymology of this word in Persian and Arabic language, I’ve criticized the speculation which introduces phenomenological 8 Quarterly First Year, No. 2 spring 2012 view to the myth as a way to understanding myth and divine faith. Scholars such as Eliade and a few of his colleagues believe that religion or myth in religion can be understood by phenomenology. On this basis, phenomenologist in religious studies should think like a believer in myth and from his point of view should try to understand the role and meaning of myth and religion. They believe that religion is a myth that a believer accepts its reality through phenomena and their appearances (without truly understanding their nature and reality). But according to holy verses of Quran and Islamic religious literature, the word “āsatīr-ol-avalīn” implies fables of the ancients which mostly have forged and void contents, and hence using it interchangeably with terms like historia and myth in the west thought is not correct. According to the above statements, by reviewing the Quranic literature about this word and mentioning examples of incorrect comparison of Quranic contents with myth, the phenomenological approach to the myth and religion is criticized. The opinions of those groups who have compared ethics, sacred rites and Quranic ordinances of law with myth have been shown in details. It has also been explained that the foundation of religion is divine. Also by exemplifying, it is said that the phenomenological intellective apprehension of images about myth and the viewpoint of myth hermeneutics has no basis for understanding the unchanging essences of religion.

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The Sacred Art of Islam has undoubtedly been born with the calligraphy of the Holy Quran. Afterwards, it was completed and evolved with decorating of this magnificent manifest. This process has had great effects on all fields of Islamic Art. In this research, the writer has discussed about the procedure of scribing the Holy Quran in the life time of the Holy Prophet (p.b.u.h) as well as the time of Uthman’s caliphate. Mus’hef of Imam has also been pointed out. It has been confirmed that at the time of the Holy Prophet (p.b.u.h), the scribers wrote the Holy Quran in a special manner known as Mekky or Madani or Hejazi style. In this essay a few pages of the two remaining manuscripts of the Holy Quran scribed by this style, have been talked about. By analyzing the styles of scribing these two copies, it is pointed out that the words and letters have been arranged and collected in a beautiful order regarding the symmetrical, harmony and balance of the shapes and sizes.

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