امر قدسی

The issue of the Sublime as a perfect, transformative and astonishing situation of glory and greatness is a category that has not been paid much attention and analysis in the aesthetic field of art in the studies of traditional arts [oriental arts], and in the few studies that have been conducted, more attention is paid to its glorious aspect. Therefore, the present study intends to analyze the nature and quality of this concept in the field of art from a perennialism perspective by presenting an image of the aesthetics of the manifestation of the sublime through the lens of modern art theories. As is clear from the title of the research, the theoretical approach of the discussion is derived from the opinions of perennialists such as Schwan, Burckhardt, Nasr, Lings and other theoreticians in this field, and the method of this research is analytical and argumentative. In fact, the goal is to be able to present a discussion of what, how and how this concept is manifested in the perennialist way of analysis. The findings of the study are indicative of the fact that if, in order to understand the sublime, specifically through the lens of traditional arts, one goes to the central concepts such as the sacred, art and sacred beauty, and approaches this concept in such a discourse framework; This proposition can be reached that, contrary to the modern one-dimensional (in most cases subjective) awe-oriented view of the sublime, the sacred reading of this concept, in the multi-dimensional and universal objective context of sacred art, and with the Qur'an as the fundamental realm of Islamic art and beauty , if it has glory and wonder in its foundation, but it cannot be devoid of beauty. Because, basically, the sacred sublime matter cannot achieve its main purpose if it is limited and exclusive only to the divine glory in the modern understanding of it. Based on this view, due to the practicality and purpose of sacred art, it is even possible to justify and interpret the status of annihilation in mysticism, as otherwise there would be no attraction that would lead to the path.

Traditionalists wrote and left behind many works on traditionalist art. Although their intellectual scope was broader than mere attention to art and covered vast aspects of life, what was important was their attention to art, which they discussed in details. According to them, an idea like, there is no place for art for art's sake; in fact, from the traditionalist point of view, art is a window into the Holy Land through the recollection of the infinite and absolute of this supreme truth. One of the most important features of traditional art is order and unity, which strive to correspond to the qualitative and so-called essential dimension of the cosmic image. By paying attention to these elements, traditional and sacred art evokes and expresses sacred matter, Sacred knowledge is central to traditional theory. Through the reflection of traditional art, which is an expression of the sacred, pop artists lead people towards the ultimate and eternal truth through the knowledge of the universal divine. This sacred matter must manifest itself in mystical form in the form of a work of art. In traditional thinking, it has the conceptual form of Aristotle and Platonism, the form is the expression of the essence of the object. In traditional art, objects must move from one another to reflect unity in diversity. Now this study will study the possibility of using elements of traditional art in cinema, a modern art form that still has many limitations in recreating traditional art.

Contemporary Iranian calligraphic art emerged from the Saqakhane school following the modernization process’s expansion. The Saqaqhana school tried to connect the traditional visual culture of Iran with modern approaches in the field of visual arts on the path of globalization with western art. Since the art of calligraphy follows the principles of spiritual and sacred geometry, there is a fear that the modernity and globalization of this art will be contradicted by the eternal matter in the mortal system and the center in the environment (sacred matter). Therefore, this research aims to measure the contradiction or harmony of the sacredness in calligraphy with the globalization of this art through a descriptive-analytical method. The statistics and information of this research have been collected through the library-document process. The study’s central question is, considering the concern of globalization in calligraphy, where is the sacred place in contemporary Iranian calligraphy and calligraphic works? After analyzing, applying, and studying the sanctity in five examples of calligraphy works of the 80s and 90s, we concluded that true sanctity is caused by the shadow and divine spirit that exists in the art of calligraphy and that these works with modern techniques And if they have been produced in the world or with essential tools such as pen and ink, it has no effect on expressing its sanctity.

Sacred Theatre, a concept derived from the study of religions, which is charged by Peter Brook, has doubts that the audience can not find features and a clear definition of it. Since the western rational culture has less interest to explore the intuitive concepts of Brook's article, it can be claimed that the intuitive and wisdom culture of the East intuitive is a convenient reference for this study. On the other hand Antonin Artaud's theories influenced by eastern culture can also play the same role. This article that is base on descriptive-analytic method, studies The Sacred, Eastern philosophy and Antonin Artaud's theories to find the common quality between them and the sacred theatre to answer the doubts. Sacred theater is theatre for human expressing his invisible facts to make the invisible visible that can be done in two ways: 1- Remove the five senses and replace mental faculties of audience 2- Defamiliarize the familiar affairs

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 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.