aesthetics

Beauty and its nature are of the most controversial philosophical topics among philosophers. Among the ancient Greek and medieval philosophers, beauty, goodness, truth, and justice have been raised. Some Western thinkers have raised beauty and its truth in such a way that it led to the emergence of one of the arguments for proving the existence of God. The nature of beauty and how to prove the existence of God through the beauties of the world and the relationship between beauty and successful sciences is an issue that Robin Collins has addressed, and this research attempts to examine and analyze his views. Accordingly, the author attempts to study and examine the dimensions of this issue by raising minor questions and using a descriptive-analytical method. The research findings show that this argument attempts to prove the existence of God through two epistemological and ontological methods. These methods focus on our ability to recognize beauty or on the existence of beauty itself. Collins's view on beauty is particularly rich and prominent, and it has become clear that he considers simplicity with variety to be the criterion of beauty. Collins also puts epistemology and ontology together and believes in the alignment between human aesthetics and successful theories of science. By recognizing the world as the work of the Creator and emphasizing that beauty is human-centered, he proves the existence of God, the Creator of beauty. Although challenges such as hasty action and lack of clarity of reasoning have come to this argument, this argument is still the center of attention as a new innovation in the contemporary century.

Science is an objective method to study the world. therefore, it has to be, in principle, independent from any type of subjective judgments and preferences. Aesthetics, judgment, on the contrary, is based on subjective tastes. this is the reason why foe a long period of time philosophers believes that there can be no relation between science and aesthetics. logical positivists, for instance, held the claim that scientific propositions directly imply to the objects and events of the world. Reichnbach said even if aesthetic sense were to be proved to have a role in this or that particular scientist's creativity, yet what is finally important for scientific methodology is the objective justification of a theory. i.e. the way a theory or a set of scientific propositions imply to the objects and events of the world. However, in recent decades, there has been a shift in the point of view of philosophers of science. and the relationship between aesthetics and science has become an attractive and serious subject for the field. The main goal of this research is to survey the relationship between aesthetics and science through both scientist's and philosopher's point of view. we take this survey in five levels: practical, methodological, production, thematic, and explanatory level.

The truth and nature of beauty, as a secondary intelligible (Arabic: معقول الثانی, romanized: maʿqūl al-thānī), have become a topic of discussion among philosophers. In the present study, employing an analytical-comparative method, the truth of beauty and its relationship with pleasure and goodness from the perspectives of Plotinus and Avicenna (Arabic: إبن سینا, romanized: Ibn Sīnā) are examined. It is demonstrated that the thoughts of these two philosophers, despite foundational differences in their metaphysical bases, have significant similarities in this specific area. Although Plotinus recognizes a specific role for proportion and symmetry in the beauty of sensible things influenced by the Platonic tradition, he does not consider this to be the cause or the main criterion of beauty. Instead, he seeks the criterion of sensible beauty among its intelligible causes, with the absolute Good or goodness at the forefront, and regards sensible beauty as a shadow of intelligible beauty. Although Avicenna does not believe in the theory of exemplarism (exemplary ideas), he believes that the cause and criterion of beauty is the perfection of a being. According to Ibn Sina, both beauty itself and the power to perceive beauty are rooted in the perfection of existence. Therefore, the Intellects (Arabic: عقول, romanized: ʿAqūl), which are above the sensible world (the sensible world), possess a higher degree of beauty, and the Necessarily-Existing (Arabic: واجب الوجود, romanized: Wājib al-Wujūd, lit.: Necessary Being), which is absolute perfection, is at the pinnacle of beauty and grandeur, while at the same time possessing the most complete perception of beauty.

Critique of Kant's philosophical and epistemological plans for aesthetic judgments has taken an important step in his confrontation with the beautiful. Regardless of the aesthetic dimension of the beautiful, Kant has viewed the work of art as a value that can be combined with ethics, metaphysics, and rationalism. The formal and content effect of the critique of the power of judgment is not hidden from any philosophical attitude. But Gadamer, in Truth and Method , Criticizes Kant's aesthetic experiences. His critical reading of Kant and his ontological view of the beautiful have, in many respects, made the vast potential of Kant's concepts unnecessary. The essay shows that Gadamer's narrative of kant , before escaping a negative aspect of the cognitive pursuit of the beautiful, is very positively affected by it. Gadamer is considered a critic of Kant's work, but he has positively and negatively preserved Kant's aesthetics. The direct effects of Kant's concepts on Gadamer's aesthetic experience have unilaterally demonstrated many of his critiques of Kant. The essay in the first part, analyzes the beautiful from the perspective of Kant and Gadamer. In the second part, the epistemological foundations of Gadamer's concepts are introduced, and in the final section, in three independent critiques to Gadamer, a new version of Gadamer's reading of Kant is presented.

The main goal of this research is to explain the relationship between artistic and natural beauty from Aquinas' point of view. This study is fundamental type and its nature is explanatory-analytical. Information is collected using the library method and qualitative analysis. This research shows that in both types, we are facing tangible beauty. Both beauties are imperfect and a reflection of the perfect beauty of God. Natural beauty is without human intervention and artistic beauty is without human intervention. God is the cause of natural beauty. Artistic beauty is not the creation of the face, but the representation or transformation of the face. Natural beauty is superior to artistic beauty; because the principle as a measure of beauty is nature, and artistic beauty is somehow derived from natural beauty. Beauty criteria (harmony, proportion, clarity, and perfection) are current in natural and artistic beauty. Aquinas' view of natural beauty is descriptive.

Boredom or the lack of attractiveness of life experiences has been one of the inevitable sufferings of mankind since the beginning of history, which intensified with the industrial revolution and modernism. Meanwhile, different thinkers have tried to explain the why and how of this phenomenon and the way to overcome it. Modern solutions emphasize taking refuge in the fashion and entertainment industry, diversifying experiences, and creating objective changes outside of the individual's existence to get rid of boredom. But Søren Kierkegaard, criticizing modern and secular solutions, believes that boredom is other than unemployment and a form of akadia, which is an emotional sign of a person's lack of attention to God in performing religious duties. According to Kierkegaard, boredom is demonic and the result of choosing a hedonistic or ethical life, and the way to avoid it is to choose religious life and self-improvement through the desire to create positive moral properties such as patience, perseverance, hope, faith, love and happiness. Also, his other strategy to avoid boredom is to adopt a subjective, aesthetic and abstract view of the phenomena of the world. From his point of view, modern solutions lead a person to an endless effort to change the content of his external world by analyzing and interpreting the feeling of boredom incorrectly. Unaware that the root of solving the problem is changing the inner world through adopting an aesthetic view and poetic revision of experiences.

Eduard Hanslick, the first formalist thinker in music criticism, believed that music is the moving forms of tones. He argues that music is nothing but a form without any content or theme outside of its form. Therefore, music cannot express the feeling that comes from the outside, but if there is a feeling, it is the result of the forms and the structure of the music itself. The difference between music and other arts is that it cannot represent reality. Therefore, aesthetic judgment on music should be thoughtful and based on reflection rather than feeling. The content of music cannot be conceptual and the beauty of music is not objective. We can find these concepts by Hanslick in Immanuel Kant's The Critique of Judgment. Kant believes that beauty appears in the form of phenomena, on which  any aesthetic judgment should be based. Also, Kant believes that aesthetic judgment should not be based on personal interest or a specific goal, but should be general and universal so that it can be presented as a universal (subjectively necessary) judgment, that is, individual and personal feelings should not be involved in the judgment. Hanslik's approach to music criticism is also based on this concept.

The Holy Qur'an was revealed to the Holy Prophet (PBUH) by using all the capacities and subtleties of speech from God Almighty in order to guide mankind. This noble book, as a miracle of God's expression, has many aesthetic components. Divine addresses and addresses used in the Holy Quran in terms of their structure, meanings and goals as well as the beautiful literary arts used in this field are among these cases. The present article tries to answer the question of what is the aesthetic role of speech in the Qur'an, what are its characteristics, and what results and effects does it have on the audience, by using the descriptive-analytical method, by using the divine verses and the contents and opinions of interdisciplinary thinkers. ? The results of the research indicate that the Holy Qur'an has used rhetoric and its aesthetic elements and capacities along with many aesthetic components of the Qur'an in order to create maximum feelings and perceptions in the audience and finally to form the intended effects..

Identifying and analyzing the visual effects of the word Mustache of Allah in the Holy Quran Mustache, which embodies the image if the way in front of our eyes, is mostly used in the Holy Quran with the suffix Mustache of Allah and is often combined with jihad in the Mustache of Allah. This research seeks to recognize the verses of jihad analyze the reasons for honoring the efforts of Islamic warriors and to look at the lofty status of Mujahideen and martyrs in the Path of God. The word Moustache which is used about 173 times in the Holy Quran is one of the most used words in the importance of the use of this word in the present era, we will seek to understand the meaning of the Moustache, from an aesthetic point of view, and interdisciplinary activity. "Quran and art" in the field of Quranic research we will report its results, The Holy Quran paints a smooth and sometimes rough road in human thought. A person who for any reason decides to follow a path needs a path even though this path may be dark and winding, but in any case the appreciation of stepping on this path is in evitable for every path and the passerby has a vital in order to reach his very laborious and rough for the Mujahideen of Gods way just as the path of any desired and loved one can be like this.

IntroductionIn the present day, we are faced with the dominance of various and plural and sometimes contradictory discourses, which is famous for the post-modern era, and this relative dominance seems to be trans-valued and trans-ethical, after the weakening and falsification of any rational, scientific, traditional and discursive criteria in the explanation. The criteria of correctness and truth are summarized in the pseudo-proposition "every opinion is respectable and worthy of value". Therefore, it is necessary to understand our times better by returning to the beginning of the modern era and analyzing the discourses and values of that era. According to the author's belief, it is indispensable to deal with the romanticism movement as one of the influential and revolutionary discourses that emerged simultaneously with the development of modernity in the West. In this article, an attempt is made to examine and analyze the movement of German romanticism from a philosophical point of view. Historically, the tradition of Romanticism was strongly highlighted by German thinkers in the late 18th and early 19th centuries. Although traces of the ideas of this intellectual tradition can be found in Britain and France, it was in Germany that the artillery of romanticism was equipped with intellectual-philosophical tools as much as possible and, according to Isaiah Berlin, led to a revolutionary change in the history of Western thought. Specifically, the opinions of two important philosophers of this era, namely the peak of enlightenment, Immanuel Kant and the spirit of storm and drang, Gottfried Herder, are of great importance in the romanticism movement. It should be noted that although the philosophy of German Romanticism is influenced by what Isaiah Berlin calls anti-Enlightenment thought, but considering the influence that this tradition has received from the aspects of Enlightenment thought, as Friedrich Beiser believes, it cannot be completely anti- Enlightenment summed up. From this point of view, considering the deep relationship that exists between contemporary philosophies, especially the so-called continental philosophy with the philosophy of romanticism and specifically the Athenaeum circle, here an attempt is made to give a general outline of this relationship, both in the final summary of each It should be drawn from the middle parts of the writing and in an independent part under the title of the legacy of romanticism in contemporary philosophy. MethodologyIn order to carry out this research work, we will use Berlin's and Beiser's works, specifically their works about romanticism, in order to explain Their ideas clearly. Therefore, we have attempted to critique and evaluate their views by utilizing descriptive-analytic methods, relying on commentators' views, and utilizing authentic sources and documents. Discussion and ConclusionRomanticism's attempt to create a synthesis between the Enlightenment movement and the storm and drang movement in the field of philosophy, aesthetics, ethics and politics is worthy of consideration. But too much emphasis on modern anti-rationalist ideas, in certain circumstances, leads to the collapse of order, ethics and political order. Although the ideas of romanticism in the individual sphere can moderate the problems of modern life, it is necessary to reconsider the application of these ideas in the collective sphere.

John Dewey is one of the most important experts in the field of education in the contemporary period, and some of his teachings have become a part of the body of educational systems in the world today. Since education is an integral part of the structure of any society, any weakness in it will weaken the culture of that society. The past educational systems mainly emphasized the intellectual, moral, and religious aspects of education, but nowadays attention to other dimensions, including the aesthetic, critical, and creative dimensions, is seen as a necessity. The reason is that the aesthetic and artistic approach, along with other approaches, can represent the world and its phenomena in a different way for us and provide us with the possibility of experiencing them in a different way. Therefore, in addition to developing intellectual and moral fields, emphasis is also placed on "aesthetic education". The main issue regarding this type of education is that some have only seen it based on the perspective of genius and some based on the perspective of taste; while the aesthetic education of Taaman includes both views. As a result, every successful educational system should pay attention to the development of imagination and the creative dimension of the child's mind, as well as the development of taste to perceive and evaluate beautiful things and works. In the book "Art as an experience" Dewey's work shows attention to both perspectives, on this basis, while reviewing the topics related to aesthetics and the components of aesthetic education, we specifically reread a part of the said work focusing on aesthetic education (based on the perspective of genius and We will discuss the view of taste.

 Wisdom and philosophy in Iran have an ancient history. In ancient Iran, especially during the reign of Khosrow Anushirvan, a lot of effort was made to develop philosophy and wisdom in Iran. With the coming of Islam to Iran, this process continued until it reached Suhrawardi. Suhravardi is the link between the philosophy of ancient Greece, ancient Iran and the philosophy of Islam. By accessing ancient sources, especially Zoroastrian Avesta and Ferdowsi's Shahnameh, he created a remarkable link between Eastern and Western philosophy. As a revivalist of the wisdom of ancient Iran, with full knowledge of Iranian philosophical thought, Suhravardi presents a mystical interpretation of the personality and actions of the legendary heroes of Iran, such as: Ki Khosro, Fereydon and Kiyomarth. Also, Suhravardi's special attention to "Nooral Anwar" shows his affinity with the Quran and ancient Iranian culture. The description that Sohrvardi gives of Zoroastrianism and Zoroastrian concepts in terms of attention to light, fire, divine furnace, division of the world into two parts, Minoan and Gitian, as well as Zoroastrian angels, clearly shows the extent to which he was influenced by the wisdom of ancient Iran. In the discussion of aesthetics, Suhrvardi pays special attention to all aspects of "moral function", "world of example", "beauty and love" and "epistemology". which can be cautiously considered as a special science originating from "aesthetics". In this research, an attempt is made to reflect on the wisdom of ancient Iran and on the beauty and mystical love of Sohrvardi, relying on the philosophy of aesthetics.

Immanuel Kant's aesthetics in Critique of Judgment has always been the subject of discussions and the discovery of many points about the anatomy of the faculty of Taste and its judgments. Because of contemporary aesthetic issues, the inquiry concerning the possibility of the reflective perception of dissatisfaction and following that the position of ugliness in Kant’s aesthetics has been considered by commentators. Ugliness and its judgments have different places in Kant's pre-critical philosophy in comparison with his ideas in the framework of the critical system. Before writing triple critiques, he has taken note of Ugliness in the format of sensorial perceptions and anthropological concepts as the object of merely empirical positive displeasure perception. But the query about Ugliness as a reflective judgment is impossible on his critical aesthetic horizon because the possibility of such a judgment would be contradictory with the systematic purposes and methodology of the third critique. In order to clarify the position of Ugliness in Kant's aesthetic horizon, while the present article examines his view on Ugliness in the pre-critical horizon, it explains the reasons for the absence of the Ugly as a reflective judgment in Kant's critical considerations and proves the impossibility of realizing the reflective judgment on Ugliness in transcendental philosophy.

Here, an attempt is made to answer this question in a descriptive-analytical way: Baumgarten is known as the German founder of aesthetics, But Can he properly justify the independence of aesthetics from other fields? In order to achieve this goal, instead of considering the historical course of his treatises, we have followed the discussion according to precedence and conceptual order. Among this conceptual arrangement, the focus is on the discussion of "perfection". Also poetry as the central issue of Baumgarten's aesthetics is considered. For Baumgarten, perfection is an object of inner coherence. Perfection in the subject refers to the perfected degree of sensible high when arousing sensible representations. In fact, Baumgarten believes that beauty and perfection are intertwined. In this way, beauty is in the chain of sensible perception. According to Baumgarten, perfection and beauty do not just depend on objective Cohesion and coordination in the object or artistic work, it is perceived through the subject. The subject receives the sensible effect as the degree of pleasure and displeasure. Beauty is, intuitively and undistinguished moral and, indirectly related to moral concepts through symbols (or signs). Logic is correlated to rational principles and rules over the aesthetics. With Baumgarten's effort, taking into account the more flexible function of rational laws in reason, a regin is opened to accept aesthetic due to the relation with moral domain and etc, rules Despite Baumgarten`s deeply efforts, the field of aesthetics is not autonomous.

In contemporary ethics, moral expert as a person who can recognize sound behaviors in complex situations and be the ideal moral agent. This matter is not new and can be found in Hume's moral philosophy, but it is not as well-known as it should be. If we look at Hume's works, not only we will find a lot of evidence in this issue, but also there is correspondence between it and the true judge, the famous doctrine of Hume’s aesthetics. As there is true judge as a person in aesthetics that with Strong sense, delicate sentiment, practice, comparison, and free from all prejudice Gains general principles of art and recognizes real beauty; In morality, there is a man of temper, preserve himself from illusions, has the command of himself and can separate feelings in complex situations. he determines the right behavior, virtue, and vice. Also, both true judge and moral expert recognize common mistakes and are considered as ideal figures.

This essay aims to explore the focal importance of the sense of touch in the  young  Johann Gottfried Herder’s Philosophy. In line with this purpose, some ontological and epistemological aspects of his early philosophy are examined. However, the true incentive of this inquiry is the role that sense of touch plays in Herder’s Aesthetics, the discipline which has a fundamental and indispensable interrelation with all fields of his thought. This text attempts to outline Herder’s stance regarding embodiment and sense of touch especially in relation to Ontology and Aesthetics of German rationalist tradition and also to Immanuel Kant’s pre-critical philosophy. It will be explained that the sense of touch, as Herder contends, is the most fundamental part of human perception, which grasps the being of the soul and the being of the world in terms of one single force, i.e. the force of representation; And aesthetic experience, as Herder assumes, consists in the very experience of detecting this unity between the soul and the world, namely the experience of perceiving perfection.

In this article, we try to explain Merleau-Ponty's art and aesthetics by focusing on his phenomenology, which is based on bodily sensory perception and show that Merleau-Ponty's phenomenological analysis of the body in his early writings, such as the structure of behavior and especially the phenomenology of art in perception. He is the determining element in the formation of his philosophy of art. The main hypothesis of this paper is that body and art have an intertwined relationship and form the basis of Merleau-Ponty's aesthetic phenomenology. Thus, the artist's sensory perception and body-to-body relationship with and reflection of this encounter in the work of art is a concern of what we have called the body-centered aesthetic phenomenology. In addition, in this phenomenology, we consider painting as a way of thinking that Merleau-Ponty has analyzed concerning Cézanne's works, as well as body-centered aesthetics and, consequently, the close connection between body and art. In this article, we have tried to advance our analysis by referring to the key works of this philosopher.

The existence of rhythm, harmony and symmetry in architecture and music shows us, these two artists have a lot in common. The buildings left from ancient times to the buildings that exist today; They express a conceptual connection between music and architecture, and it can be said that both arts have been the messengers of single concepts at any point in time. This connection is so much that some have mentioned architecture as frozen music.  These links have connections and points of commonality that these similarities and commonalities can be defined and categorized in these categories. Physical, visual, conceptual, epistemological, functional, aesthetic, structural, cultural, contextual... The purpose of this research is to find the connection between Plato's views and the aesthetic commonalities of music and architecture. The main research question: Is it possible to find commonalities between architecture and music according to Plato's views? There is no specific hypothesis in this research and answering the question cannot be considered as a novel hypothesis. This research has been carried out using a descriptive analytical method. The relativity of ideas and differences of opinion is one of the biggest obstacles and limitations of this research. Seyyed Baqer Hosseini in an article called "Mental pattern: the product of the interaction between music and architecture design" in Abadi magazine, year 19, number 64, page 123-125-126, deals with the proportions of music and architecture.

Throughout history, philosophers have looked at existence with a new perspective and have been able to revolutionize the history of philosophy with their theories. Among these philosophers are Plato and Suhrvardi. Plato and Suhravardi each benefited from many sources to build their intellectual system and mentioned them in their works. The reason that the theories of these two philosophers have been presented in this research is the closeness of the theories in their thought. Platonic thought is one of the important sources of Sohrvardi in reaching his philosophical system and its traces can be clearly seen in Sohrvardi's works, however, he tried to deal with those thoughts according to his own thought system and with a philosophical perspective and even to undergo change and transformation to adapt to his beliefs. The question of this research is "what place does (aesthetics) have in Plato's thought and Sohrawardi's wisdom?" Is. In line with this importance, the commonalities and differences in the views of these two philosophers have been explained from the aspect of aesthetics, so that by comparing and distinguishing these ideas, we can examine the influence of an idea or its evolution over time. The method of the current research is descriptive-analytical, and the collection of information is done using the library method by taking samples from reference books, articles and authentic manuscripts. The results showed: Plato, in analyzing and expressing the truth of beauty, does not consider it to be proportion and harmony, adaptation to Greek culture, usefulness and pleasure; Rather, he considers beauty to be an extra-sensory and objective thing that the pursuit of beauty leads to, and such beauty is eternal, absolute and in itself, and it is the same idea and source of beauty that belongs to the world of similitude, and beautiful objects are equal to Their benefits are beautiful. According to Suhrvardi, beauty is interpreted as good, which refers to beauty and perfection, both of which are the same phenomenon, so whatever is at the end of perfection is beautiful. Also, beauty is an objective thing that corresponds to the outside world. Relationships such as lights, colors and different shapes (objective representations) become the source of understanding and expression of the feeling of beauty. Therefore, it can be concluded that from the point of view of Plato and Suhrawardi, beauty is the pleasure of perception and the attainment of perfection, which manifests through love and causes movement.