زیبایی شناسی

 To date, many studies concerning the façades of commercial centers have tended to focus either on aesthetic dimensions or on performance-based criteria—particularly environmental sustainability. Consequently, a notable research gap persists in Iran regarding integrative approaches that simultaneously examine both technical aspects (such as thermal transmittance, green cladding, and solar radiation control) and perceptual-cultural dimensions (including urban users’ expectations and compatibility with local identity).

Addressing this gap, the present study adopts a mixed-method approach—quantitative and qualitative to explore how visual and environmental features of commercial building façades influence the preferences and perceptual experiences of users in the Tehran metropolis.

In the initial phase, energy simulations and analysis of physical data (including thermal and daylighting indices) were conducted to evaluate the environmental performance of four selected commercial complexes. Subsequently, qualitative data were gathered through semi-structured interviews and perceptual questionnaires to assess user preferences concerning aesthetic and cultural dimensions.

The results indicate that façades which simultaneously reduce energy consumption and exhibit strong visual presence along with discernible cultural cues are significantly more effective in eliciting positive emotional responses and encouraging user engagement. Unlike most previous studies—often limited to either aesthetic or technical aspects—this research introduces an integrated mixed-method framework that systematically demonstrates the interrelation between environmental parameters and users’ psychological reception. This framework offers a strategic model for designing façades that fulfill both ecological goals and perceptual satisfaction among the target community.

Our main goal in this article is to explore the phenomenological understanding of space and identify the essence and beauty of the artistic structures in Naqsh-e Jahan Square. We aim to enhance the sense of human identity and quality-oriented approach in contrast to the modern era's feelings of loss, alienation, and quantification. Due to its geographical and historical significance, Naqsh-e Jahan Square in Isfahan serves as a crucial cultural, social, and historical hub that attracts a large number of tourists, both domestic and international. By examining the principles of Gestalt in its design, we analyze how these principles are implemented in the square. Naqsh-e Jahan Square, a UNESCO World Heritage Site, is renowned for its grandeur and architectural significance. Despite extensive research on the square, there is a gap in explaining the principles of Gestalt in its physical interpretation. Addressing this gap is an essential aspect of future research. Gestalt is one of the most important principles in architecture, especially in the design of public and urban spaces. These principles emphasize the proper distribution of spaces and their interconnectedness, leading to the creation of a beautiful and efficient urban environment. The theory of Gestalt perception is based on the idea of seeking order, structure, and patterns in designs and objects. This article focuses on the application of Gestalt principles in the design of the square, with an emphasis on the thematic analysis of its physical structure and aesthetics. The conclusion drawn from this study is that the architecture of Naqsh-e Jahan Square, rooted in our past, predominantly emphasizes the importance of humans and is based on the presence of humans, richness of beauty, and meaning in the place's formation. Additionally, in Naqsh-e Jahan Square, this theory can provide valuable insights into visual perception. Factors such as strong symmetry and repetition in architecture, use of patterns, and design coherence can influence visual perception. These factors establish a consistent and predictable order and structure that provide visitors with a tangible understanding of the environment and relationships between elements in the square. These architectural and design principles in Naqsh-e Jahan Square enhance the sense of order and harmony, improving visual perception.

The industrial revolution, modernization, and the capitalist system at the global level have brought about such fundamental and fundamental changes that the extent and intensity of it in developing and developed countries have manifested themselves in different ways according to the social, political, cultural, and economic fields, which in the country Iran, its first manifestation in the city and the appearance of the cities have found a physical-spatial crystallization and the cities have suffered a historical break in terms of physical and spatial, which were once famous for their architectural model, appearance, and landscape that they displayed. One of the main reasons for this crisis is the urbanization of capital, the promotion of profitability, the commodification of buildings, and the replacement of commercial and economic values with aesthetic and meaningful values, which has left a vague and unconventional image of urban landscapes in the public mind. City Garden Bam is located in the southeast of Kerman province and is one of the historical cities with a defensive structure in the heart of Lut Desert, which has a unique pattern of life and architecture. This city, with its natural and structural values in the heart of the desert, is one of these cities that is no longer attractive to the audience in terms of beauty due to natural events and modern trends. By looking at the landscape and view of Bam city garden, which is the first registered city garden in the world, and also considering its reconstruction after the earthquake of 2012, this study tries to investigate and evaluate the state of its urban landscapes. According to the importance of the subject, in this research, the state of the aesthetic indicators of the urban landscape of Bam City is examined and analyzed. The research approach is descriptive-analytical, which consists of two sub-studies and includes documentary methods and library study, field observation, and semi-structured interviews. The first phase is descriptive-analytical research that evaluates the aesthetic indices of the urban landscape in selected streets of City Garden, Bam. The result obtained from this stage actually represents the status of the investigated indicators in the selected streets and the knowledge obtained from this stage is fundamental for advancing the second goal of the research (recognition and analysis of the factors and contexts of the emergence of the current situation of the urban landscape of Bam from the perspective of experts and local experts). Therefore, according to the second objective of the research, the second sub-study has an analytical nature. In the first sub-study, the investigated indicators are obtained from the review of empirical research literature. The data at this stage have been extracted from urban land use maps and detailed reports of urban development plans of City Garden Bam and researcher's field observation. The data used in the first sub-study were prepared by Bam City Municipality and Bam Road and Urban Development Department. After quantification of the collected data, the comparative evaluation of the indicators in each of the investigated streets was done, for this purpose, the Vikor model was used. As a result, in general, it can be said that City Garden Bam had a unique construction pattern before the 1382 earthquake by taking advantage of the culture, history, local contractors, natural elements, streams and groves. But now, due to the construction pattern, the materials used and the design of unconventional facades, this city has suffered a cultural oblivion. The results of the research findings in the first sub-study show that there are challenges in the 5 studied streets according to the investigated indicator, which can be attributed to the lack of facades of some buildings, Visual pollution caused by wall writings and signs. The lack of rhythm and consistency in color and color combinations, lack of attention to natural elements and palm trees, and the use of unconventional and incompatible materials with the local climate pointed out in the second sub-study, the causes of the existing trend were analyzed and it was found that six individual factors, Natural, economic, social and cultural crises, incorrect modeling, lack of attention to natural elements, incorrect modeling, and contradictions are the most important in the formation of the current trend of disturbances in the urban landscape of City garden Bam.

Iraq is an ancient land that was the focus of Muslims at the very beginning of the conquests, and the first Islamic cities such as Kufa and Basra were built there. In the 4th to 6th centuries of Hijri, coinciding with the rule of the Abbasids, Iraq, especially Baghdad, as the capital of the caliphate, enjoyed considerable prosperity and remained at its peak for several centuries and became a guiding light for a large part of the world. Social diversity took place in the field of Muslim social life, including attitudes and beliefs, lifestyle, social language, religion, and customs. In other words, during this period, the Abbasid government presented the most brilliant scientific and civilizational achievements to humanity. The works of Slimi found in Samarra can be divided into two main parts: carving and plastering. Although patterns have been found on pieces of pottery, for example, which have geometric designs with a slight indulgence of slimy, but most of the art and experience of the masters of this period in Samarra are imprinted on wood and plaster. In the arrays of residential houses in Samarra, what is very important from the point of view of Islamic wisdom are Islamic motifs. The subsequent use of these motifs in the Islamic world from Andalusia to India shows their Islamic face. It is speculated that these motifs were created due to jurisprudential pressures and aversion to images and depictions of living beings.

"Promised expectation" is one of the concepts that have been prominent in the poetry of some ideological poets for a long time. After the victory of the Islamic revolution, religious and religious poets took on the responsibility of accepting and promoting the concepts of Mahdism. Alireza Ghazveh is one of the committed contemporary poets, who in some of his poems has explained the philosophy of waiting for the promise and by using the unifying elements and techniques of the text, he has reflected his Shiite beliefs and ideas in the mirror of his poems. In this research, with the descriptive-analytical method and using library sources, the unifying factors of "expectation poems" and the proportion and contradiction of images and fantasy clusters in several poetry collections of Alireza Ghazveh were extracted and analyzed. The results showed that in the poetry collections "Ghatār-e Andimeshk, Eshgh alaih-e salam and Sobh-e banaras" the cohesive factors - along with other poetic meanings and themes - due to the poet's use of techniques such as deletion, repetition of words, synonyms, song and harmony, etc have a high frequency. The harmony of the elements of Alireza Ghazveh's poetry adds to the promotion of his religious teachings and the order and proportion between the concepts makes the poet do justice to the content in a worthy way and this harmony gives unity and integrity to the thought expressed in his poem.

Simile is one of the most important elements of rhetoric and at the peak of rhetoric , has long been considered by researchers of literary texts .in this regard , one of simile which has been studied is a kind of simile which , although it is called simile , but in the first glance and appearance of word , instead of mentioning the similarity between two or more attributes (the likened and the tenor) in one or more attributes (the quasi - one) , the negation of similarity is one of them and the appearance of negation .this kind of negative simile in the words of ali al - السلام has been used in the نهج .thus , by induction all cases of negative simile in the البلاغه , and their analysis by analytical and inferential methods , it is concluded that the negative simile , although it appears in negation of simile , has been formed in two parts .the first and hidden part of it is an analogy which is formed in the mind of the audience and the second part and its appearance is negation of absolute similarity .

Somaesthetics, as an emerging and at the same time retrospective movement, has been proposed by Richard Shusterman in the field of contemporary aesthetics. This project is formulated in a pragmatic context and inspired by the idea of "philosophy as the art of living" and some Eastern embodied traditions and modern Western psychosomatic treatment methods. Somaesthetics is defined as the critical study and meliorative cultivation of the experience and use of the living body (soma) as the site of sensory appreciation (aesthesis), and its purpose is based on enriching propositional knowledge of the body and the lived somatic experience in the process of perception. The critical position of somaesthetics is, first of all, towards the dualism of mind-body arising from the western metaphysical thought and then towards the tradition of western aesthetics. After about two hundred and fifty years, Shusterman brought Baumgarten's aesthetics to the philosophical scene and presented it in a different discursive context. Schusterman's pragmatist reading of Baumgarten's aesthetics has opened a new perspective in the contemporary aesthetic space. This article was written with the aim of investigating the relationship between Schusterman's somaesthetics and Baumgarten's aesthetics and analyzing the consequences of this movement for contemporary aesthetics. By legitimizing the body and emphasizing the neglected role of sensory perception, somaesthetics has placed itself in an alternative and complementary position to Baumgarten's incomplete aesthetics. Shusterman considers somaesthetics to be the end of the neglect of the body. Influenced by the rationalism of the Enlightenment era, Baumgarten denied the body, and the neglect of the body was reinforced in the aesthetics of the 19th century through the idealist tradition. By taking a clear stance on the importance of the soma, somaesthetics has made a special impact on contemporary aesthetics. Somaesthetics has been able to revive the fundamental concept of aesthetics; expand the field of aesthetics beyond Hegel's philosophy of fine arts; realize the link between the aesthetic and the practical; expand the somatic perception turn to other fields of knowledge; and formalize a kind of aesthetic activism in theoretical-philosophical aesthetics.

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.

The introduction discusses art as an important pillar of human culture and civilization that has always attracted the attention of thinkers and researchers. However, despite its enduring presence throughout history, art has not always been easy for the general public to understand and appreciate. Previous studies have shown that various psychological factors like personality traits, education level, prior exposure to artworks, and aesthetic literacy impact how people understand and enjoy art. For instance, individuals who are more open to experiences tend to have a greater interest and inclination appreciating complex and unconventional artworks compared to conservative individuals. Likewise, those with more art-related education, training, and experiences are generally better able to understand and enjoy complex, modern artworks. However, reviews show limited research on how informational cues and contexts surrounding art influence the aesthetic judgments of ordinary people lacking art education and experiences. Hence, a key challenge is introducing such modern artworks to the general public to enable understanding and analysis. This study aims to address how informational stimuli and contexts can influence the perspective, preferences, and aesthetic judgments regarding art among individuals without formal art education or experiences. Rather than focusing on pre-existing knowledge and experiences, it examines the role of providing art information to non-experts in shaping attitudes and perceptions in a short-term interaction. This allows assessing potential attitudinal changes without long-term assumptions. To examine the impact of informational stimuli on aesthetic judgments of individuals without art education, the present online study utilized two questionnaires comprising demographics, a 10-item Personality Inventory, Aesthetic Fluency scale, and a researcher-made questionnaire with 5 pairs of different artworks for preference rating: a traditional Iranian mosque and a modern Iranian mosque; a medieval crucifixion painting and Gauguin’s The Yellow Christ; Persian miniature painting Khosrow and Shirin from Shiraz school and Sadegh Tabrizi’s illustration of Khosrow and Shirin; a Nastaliq calligraphy practice and Hossein Zenderoudi’s calligraphic painting; a landscape painting by John Constable and a landscape by Paul Signac. Participants were randomly assigned to Questionnaire 1 or 2. The system prevented entry to the main questionnaire if participants reported any experience, education, or occupations related to art. The only difference between the two questionnaires was an initial text about the nature of artworks in Questionnaire 2 (with informational stimulus) that participants had to read and answer questions about before selecting artworks: “Artworks arise in different ways across times. They attempt to elevate our awareness and provoke thought. They try to showcase artists' perspectives and ideas about reality and life. Many contain implicit symbolic meanings that require reflection to grasp the artist’s viewpoint. Viewing art is an experience for contemplating oneself and life.” Requiring responses to 5 questions ensured close reading. 320 participants completed Questionnaire 1 (without stimulus) and 306 completed Questionnaire 2 (with stimulus). None had art-related jobs or education. The no-stimulus group comprised 320 participants including 180 females (56.2%) and 140 males (43.8%) with a mean age of 23.37 years (SD = 4.54). Their education levels were 25 high school graduates, 177 undergraduates, and 118 postgraduates. The information stimulus group comprised 304 participants including 192 females (63.1%) and 112 males (36.9%) with a mean age of 35.4 years (SD = 15.5). Their education levels were 33 high school graduates, 142 undergraduates, and 129 postgraduates. The results indicated no significant difference in overall Aesthetic Fluency scores between the no-stimulus group (mean = 51.3, SD = 53.0) and the information stimulus group (mean = 42.3, SD = 67.0; p-value > 0.05, t = 1.086). Hence, the groups were not distinguishable regarding their aesthetic knowledge. Pearson correlation analysis investigated associations between Personality dimensions, Aesthetic Fluency, and preference ratings for modern versus classical artworks. Openness to experience showed direct, significant correlations with overall Aesthetic Fluency (r = 0.22, p-value < 0.01), original Aesthetic Fluency (r = 0.17, p-value < 0.01), Aesthetic Fluency of Iran (r = 0.17, p-value < 0.01), overall art preference ratings (r = 0.28, p-value < 0.01), ratings for realistic/classical artworks (r = 0.22, p-value < 0.01) and abstract/modern artworks (r = 0.19, p-value < 0.01). Aesthetic Fluency also correlated with higher art preference ratings (r = 0.26, p-value < 0.01). However, these variables did not effectively distinguish individual preferences. Openness remained the most prominent factor associated with artistic inclination, while greater Aesthetic Fluency related to higher art preference ratings irrespective of style or genre. Independent samples t-tests examined stimulus effects on preference ratings per the study hypothesis. After checking normality assumptions, a significant difference emerged between the no-stimulus group (mean = 46.3, SD = 37.0) and information stimulus group (mean = 74.3, SD = 33.0; p-value < 0.05, t = 15.10) indicating an increased preference for abstract and modern over classical/realistic artworks in the stimulus group. In other words, in assessing aesthetic reactions among groups with and without informational prompts, the results show that individuals naturally have different interests and inclinations toward various art forms based on their personality traits such as openness to new experiences. However, when some individuals were provided with information and perspectives on how to approach and understand art, these individuals demonstrated better reactions and greater acceptance of unconventional and avant-garde artworks. That is the information presented temporarily changed their preferences and choices. Rudimentary awareness of these facets associated with art criticism and history discourse expanded the conception of what constitutes art to encompass modernism’s radical break from familiar mimetic aesthetics. Without such framing, participants generally showed avoidance toward unfamiliar compositions. Access depended on acquiring schemata recognizing how all art essentially represents creative efforts to convey subjectivity regarding conditions of lived experience, through manifest content and symbolic expression transcending literal appearances. This realization allowed perceiving richness within ostensibly opaque imagery by considering what reactions or contemplations it might intend to stimulate regardless of clear pictorial resemblance. That elementary catalytic learning temporarily redirected preferences away from customary favorites and lowered inhibition toward the abstract. The informational content facilitated detecting meaning in superficially confusing but still evocative formations reflecting artists grappling with escalating modernity complexities. Audiences otherwise automatically discount such works due to their ambiguity and lack of concrete visual affirmation of skill seen in traditional techniques. They construe abstraction as technical ineptitude rather than thematic eloquence communicating via entirely reinvented visual languages detaching from optical verisimilitude. Exposure to the historical background on key avant-garde stylistic innovations and their creative rationales rendered these productions more welcoming. These findings demonstrated mass art appreciation hinges considerably on foreground knowledge granting cognitive access more than solely intuitive sensory reactions. The research can help identify factors influencing the formation and alteration of artistic tastes and preferences, as well as the role of contextual information cues therein. The findings can also inform the design of more effective educational and cultural programs for promoting public appreciation of modern art.

Representation is a process through which artistic and philosophical movements throughout history have expressed realities or imaginings, either directly and naturalistically or indirectly and abstractly. The concept of beauty within this process varies according to each movement's definitions and understandings of human nature and existence. This study examines the evolution of avant-garde movements following the invention of photography, the birth of cinema and animation, and the World Wars, which served as pivotal moments in the transformation and redefinition of representation in art and beauty during the Pop Art era. This era marks a significant departure from classical aesthetics spearheaded by avant-garde movements, where popular culture emerged as a vital source of inspiration and artistic creation. The research delves into the origins of Pop Art movement, which emerged as a response to growing division between subjective perspectives of avant-garde artists and the general public. This divide created a need to explore the structure of experience and its role in shaping popular culture. Central to this exploration are the theories of John Dewey, a leading figure in the philosophy of pragmatism, who emphasized the importance of aesthetic experience and popular culture as influential forces in the artistic process of this era. Dewey’s theories provide a framework for understanding how art can engage with everyday experiences and contribute to the cultural landscape. The study further investigates the evolution of aesthetics in experimental animations produced by the National Film Board of Canada (NFB), recognized as one of the most influential institutions in the development and growth of experimental animation. The analysis is conducted across three distinct strands: abstract animations heavily influenced by Modernist art, particularly by avant-garde painters who were pioneers in experimental animation; transitional animations that serve as a bridge between Modernist aesthetics and Pop Art, blending elements of high art and popular culture; and animations that achieve a unified aesthetic by integrating the formal and thematic elements of Pop Art with Dewey's concepts of everyday aesthetic experience. This research explores the reasons and mechanisms behind the shifts in aesthetic criteria and their impact on the experimental animations of the NFB. By analyzing and comparing the formal and thematic characteristics of selected works from each strand, the study identifies specific criteria that illustrate how Dewey's aesthetic theory of everyday life has transformed NFB's works from abstract creations into works deeply embedded in popular culture, yet still influenced by the formal elements of Modern and abstract art. The study employs a descriptive-analytical approach, reviewing the development of Pop Art, the capabilities of experimental animation as a pioneering branch of visual arts, and the supportive environment provided by the NFB. This environment has enabled the integration of diverse cultural influences through the work of artists with unique techniques and styles. The analysis concludes by determining the extent to which Pop Art has influenced these animations, demonstrating that contemporary art and beauty emphasize a direct connection between art and everyday life, highlighting human experience and popular culture as the primary sources of artistic expression.

The present research has analyzed the fundamental concepts of aesthetics from the point of view of objectivism in the architecture of Qajar period houses in Tehran. Aesthetics is the understanding of the state of space through humans, and aesthetics in architecture brings to the fore the presence in space and the feeling of all the components of beauty at once. The discussion of aesthetics in architecture is related to the theoretical foundations and especially the quality in each architectural design individually, which leads the design and design process more to the knowledge of the elements and the creation of beauty; On the other hand, architects believe that factors such as structure, material resistance, and financial issues have caused the loss of freedom of action in designs to create beauty, so in this research, looking at historical architecture, the aim is to analyze beauty. . In the course of historical evolution, beauty has been an eternal attraction and has been researched in different disciplines. The importance of research is that beauty is not subjective; Rather, it should be understood as an objective truth; Also, the houses of the Qajar period, as important urban phenomena, are very important from an aesthetic point of view, and for this reason, in the past decades, researchers investigated its various aspects.

In this research, according to the qualitative tradition of research, the description of the architectural components of the Qajar period has been discussed with a descriptive method, and an analytical method has been used to identify and compare the components and spatial relationship in the Qajar houses. Also, the research approach is comparative-interpretive. In order to obtain the desired results and express the answers to the research questions, in this research, information is collected with the library technique, such as books, articles, maps, photos and videos of the buildings, as well as field observations. The collection of information about eight houses of the first and second Qajar period in Tehran was done.

The evolution of Qajar houses has undergone an interesting process. The houses of the first Qajar period, such as Nagaristan Garden, Zaman Museum and Ferdous Garden, are influenced by the architecture of the Safavid period. But the houses of the second Qajar period, such as Moghadam House, Imam Juma's House, Sultan Begum House, Masoudiya Mansion, and Ain-Dawlah Mansion, are influenced by Europe, and their aesthetics are derived from existing European buildings and stamps. By analyzing the eight houses of the Qajar period in Tehran, it can be found that the Ain-doleh mansion and the Moghadam mansion have all the objective aesthetic components and the Nagaristan garden, the Museum of Time, Imam Juma's house and the Masoudiyeh mansion have the most objective aesthetic components.

By analyzing the basic concepts of objective aesthetics such as architectural form, geometry, architectural elements, decorations, unity and diversity in the houses of the first and second period of Qajar, it can be found that the component of architectural form and decorations are present in all houses. It has and is an important and essential thing in the perception of objective aesthetics, and after that geometry and architectural elements are in the second degree and cause the perception of objective aesthetics.

By studying the evolution of the concept of landscape in the context of urban design, it can be understood that the value of "beauty" and the concepts hidden in it,  turn beauty into a turning point in all approaches to The view is somehow understandable. In the modern definitions of beauty, they say that it is a concept that must be perceived and experienced by humans, and it is during this daily experience that the process of answering, judging, valuing and interacting with it is also formed. The aim of the article is to qualitatively investigate the variables affecting the design of the urban landscape with an aesthetic approach from the perspective of people as the main users of their living environment. For this purpose, with a statistical sample of 9 experts and 41 citizens of Babol city, with a semi-structured in-depth interview, the data was analyzed through the MAXQDA 2023 software. A total of 1879 codes were extracted, which were classified into three stages, open, central, and selective, and based on the paradigmatic format of the grounded theory method, which consists of 6 main themes, including the central phenomenon, causal factors, contextual factors, intervening factors, strategies, and consequences. , the qualitative model of the article was obtained. The consequences, in the above model, are the results of the research, which include "the output of the urban landscape phenomenon on people", on the "urban landscape" itself, and on "identity".

Kierkegaard does not have a decisive and clear opinion in the field of art or aesthetics - in its modern meaning and perception. Regardless of the aesthetic values ​​in the style of Kierkegaard's writings, he used this term only in the theory of three cognitive spheres of life, which does not have a positive meaning: the first stage is based on sensual pleasures and instincts or abstract philosophical thoughts. He calls this stage Sepehr "Aesthetic"; A stage that makes a person suffer from ontological boredom and fear and makes the artist (at the highest level of this sphere) to create works of art. Since there has been no independent research on the aesthetic components of art in Kierkegaard's philosophy, and also, since many of these components exist in some theories of the aesthetics of art, but Kierkegaard's name is not in the history of these theories, with the aim of providing a clearer view of the aesthetic components of art and the place of art and artist according to Kierkegaard, this article seeks to answer two questions: 1. What are the aesthetic components in Kierkegaard's philosophy that can be defined in the aesthetic discussions of art? 2. What is the position of art and artist in Kierkegaard's philosophy?
     The research method is descriptive-analytical and is based on the analysis of the philosophical propositions of Kierkegaard's writings and his commentators, as well as the classification of components of Kierkegaard's thought that are valid in post-Kantian aesthetics.  Also, these components were used to interpret the position of art and artist in Kierkegaard's philosophy. From the results of this research, we can point to some components that, although in Kierkegaard's thought system, they are not exclusively in the explanation of artistic aesthetics, and even according to this philosopher, they are not very positive or valuable, but today they can be used in the aesthetic analysis of works of art; Components such as "Originality of Individuality", "Will to Desire", "Attention to Small Matters", "Freedom of Choice", "Life and Decision in the Moment", "Diversity and Acquiring Multiple Experiences Based on Taste in New Random Events", "Pleasure and Entertainment", "Emotional-Motivational Understanding and Interpretation of the World", "Attention to Feelings", "Representation of Lived Experience", "Satisfaction of Desires" and "Using Imagination and Satirical Genius to Reduce Ontological Fear". Also, enthusiasm, originality of individuality and the obvious expression of existential states in the art work (due to the fact that these components can be the first steps of faith by containing the two concepts of "being oneself" and "being with oneself") are among the most important factors that position of art and artist at the highest level of the aesthetic field in Kierkegaard's philosophy.

It is assumed that effective interaction between students and architectural spaces, along with the presence of architectural qualities, creates conditions for learning architecture through engagement with the environment. The most prominent environmental quality is aesthetic quality. In architectural education, learners, through sensory interaction with the environment, undergo a perceptual process that introduces them to an aesthetic experience, encompassing both aesthetic pleasure and architectural pleasure. This research focuses on "architectural pleasure" in architectural education environments, offering a fresh perspective on an important and innovative aspect of architectural education. The research question is: If pleasure is considered one of the main characteristics of architectural aesthetics, what manifestations of it can be observed in architectural education spaces? To achieve this goal and address the research question, the concept of architectural pleasure was examined in the Faculty of Architecture in Yazd. This faculty is housed in the Rasoulian House, a Qajar-era building. The research was conducted in two stages: library research and field studies. In the first stage, relevant literature was reviewed to gain a general understanding of the concept of "architectural pleasure," and through logical reasoning, characteristics for the emergence of architectural pleasure were identified. In the second stage, field studies and empirical evidence were collected, and by referring to the literature, the manifestation of architectural pleasure in the Faculty of Art and Architecture of Yazd was presented in tables. The results of this research indicate that architectural pleasure in this faculty, located in the traditional Rasoulian House, manifests in the forms of physical pleasure, psychological pleasure, social pleasure, and ideological pleasure.Research Objectives: To explain architectural pleasure and its role in architectural education.To examine the presence or absence of architectural pleasure in architectural education environments.Research Questions:What is architectural pleasure, and how is it related to different levels of pleasure?In traditional houses repurposed as architecture faculties, what components of architectural pleasure can be identified?

Numerous analyzes have been made on the criteria of beauty and its factors in architecture and art. Each of these perspectives is sometimes defined in the form of theory and sometimes as a stylistic manifesto. The classification of geometric features and visual compositions of architectural and artistic styles can help us to identify the influential elements in the perception of beauty. Stylistics needs to be measured by the product of different artistic or architectural styles in a general judgment. In this assessment, stylistic principles or aesthetic theories can be verified. At the same time, visual preferences are determined from the point of view of untrained audiences for architects and designers. What is defined as a criterion of beauty by professional architects and artists should ultimately be judged by the public. Different architecture and art were examined as background and then one hundred students not related to art and architecture were randomly selected for the test. In this test, a number of images of landmarks in different architectural styles were judged by the participants. . The results were analyzed using statistical analysis. The visual preferences of men and women were matched and it was determined that they have very different aesthetic priorities. But the total audience is mainly oriented towards folding, organic and sculptural styles, respectively. The most prominent visual features were curved lines and surfaces, flexible and fluid forms, legibility, unity and unity in components, balance and balance, integration with nature and naturalism, fit and harmony.These features are pervasive and independent of stylistic divisions.

Since theorists began to study art as an independent subject, there have been many opinions about the relationship between art and real life, which includes a wide range of the autonomy of art and its subsumption. This relationship is the relationship between the sensible and the reasonable. According to Rancière's theories, it is not possible to access the realm of meaning and convey a message through the work of art. Meaning is constructed in the minds of individuals by interpreting sensory stimuli received through their senses. The function of this system is to assign identities, roles, and positions to people. The action of opposing this system leading to redistribution of the sensible, is called politics. The aesthetic regime is a specific way of thinking and formulation of art that considers artistic sensible as a means of thought. From Rancière's point of view, this regime is related to politics through the redistribution of the senses, and in this way, it leads to the emancipation of the audience.In the current research, the ethical, representational, and aesthetic regimes of art will be defined from Rancière's point of view. Then, the relationship between aesthetics and politics is explained specifically with theater. Finally, a descriptive-analytical approach is utilized to ascertain, based on library data, the artistic regime within which "The Blacks" by Jean Genet can be categorized. As the results of the research show, in this play, Genet deals with politics and redistribution of roles and identities by creating a gap in consensus, breaking conventional dichotomies, breaking the principles of representation, and presenting unusual objects, and in this way, this play can be considered as belonging to the aesthetic regime.The current research is a descriptive-analytical study of the play "The Blacks" by Jean Genet and by referring to library data, examines which of Rancière's artistic regimes this play can be placed in. As the results of the research show, in this play, by breaking the principles of drama, presenting unusual objects, going beyond the framework of representational logic, and breaking conventional dichotomies, Genet deals with politics and redistribution of roles and identities, and in this way, this play can be considered as belonging to the aesthetic regime of art.

This article first deals with the basic concepts or so-called aesthetic introductions, and the value of these introductions is that they can potentially shape the foundation of our knowledge of aesthetics. So, first, we start by examining three possible meanings of the word aesthetics: feeling and pleasure, the theory of beauty, the judgment of taste, and then it names the elements that bring cinema and music together. The art of cinema is art that is closely related to music, and in other words, music is one of the important elements of films that filmmakers use to better convey the message and quality of the dramatic and sensory effects of the film. Hume believes that time finally speaks last, and only those things that are truly aesthetically pleasing continue to attract people's attention over the years. To this end, the study examines the aesthetic characteristics in film music from the perspective of two theorists Kant and Hume with an analytical descriptive approach and citing library sources, and finally introduces the aesthetic criteria and criteria of film music. The art of music, as the most abstract and Single among other arts. The shortest way to communicate with human emotions and emotions is through the broad expressive characteristics of music. Other inherent features of music can be considered, which express human thoughts and feelings in various ways and is able to stimulate human emotional feelings and have a great impact on the intensification of intermittent or permanent human States and situations. Complexity is an inherent trait of music. By saying that the value of music is in the pleasure it gives, it attracts the attention of the listeners, and by doing so, we naturally consider the emotional functionality of music to be its most important feature. Music conveys sadness and joy and excitement to its audience. The importance of music in cinema is so great that it was noticed by filmmakers even before the sound entered the cinema, so that usually in the theaters of silent films, organs called "voltizers", which resembled church organs, played music next to the curtain. And so they gave variety to the process of watching movies for a silent movie audience. But anyway, this approach to music in film, which emerged at the beginning of cinema, was an approach that gave secondary importance to music in the entire building of a film, while later with the works that were made and theories that emerged about music, the place of film music in the building of cinema works was greatly enhanced. Film music is one of the most important elements of the film, which contributes significantly to the strengthening of the sensory, expressive and dramatic aspects of the film. Since the music of a film is basically made for a particular film, it is natural that it should have an organic connection with the world of that film. Although the music of the film should be heard with and at the same time as watching the film and its dependence on the story and images of the film has undermined its artistic independence, there are many pieces written and performed for films but are prominent and audible independently and separately from those films because of their beauty and characteristics. Before any definition or explanation, the film composer knows the music of the film well, he is aware of the mystery and mystery of the effects of music on his audience. In this sense, it can shake the audience with its own effect. He has the ability to objectify his mental effect and evoke the emotions of the audience in the dark cinema hall to accompany the scenes of the film. The leading article focuses on aesthetics in film music, where music expresses feelings that are common to all humans. By looking at music as an expression of emotion and in a way that is separate from their specific beds, so that we can judge them in an aesthetic way. We examined the relationship of pleasure with aesthetic judgment, and in particular the interest of Hume and Kant in building a criterion for taste based on common preferences and preferences among the general public. Music produces all kinds of emotions in humans and has a profound and tremendous impact on their relationships, structure and social system. All people are influenced by music and their emotions can be changed, shaped or controlled arbitrarily. Therefore, if society or people go on the desired emotional path, their emotional atmosphere can be changed again. It turns out that music gives a lot of pleasure to a person and expresses the deepest emotions of a person and is accompanied by the motivations, desires and actions of a person and has such a power to evoke emotions that it can be considered related to people's lives so that people's emotions are deeply influenced by it. Kant believed that music does not force us to think, but, on the contrary, makes us react and dream, and is more powerful in this regard than in other arts. Music evokes inner sense more than other arts, and by doing so, it makes it easier to dream or convey inner senses. In fact, music, as Kant's time apparently believed, conveys no idea, but only emotion. Kant emphasizes the social nature of Man and that human sociability is inherent. In this regard, man always wants to share his feelings with others and gain the approval of others. In this paragraph, Kant emphasizes transferability as a sense of pleasure, which he considers to be a manifestation of the social aspect of man. The purpose of using music in cinema is to add to the visual power of the film. In this regard, the music of the film is the art that is at the heart of the film and has an impact on the audience that will be remembered and lasted over time. Music expresses feelings that are common among all human beings. In cinema, music accompanies film and plays a significant role in its impact. The music of the film creates a common sense of happiness and arouses the emotions of the audience due to the aesthetics, tastes and subjectivism of being among the audience. In Kant's opinion, in aesthetic judgment, not "pleasure" but "Universal Credit of pleasure" is the essence of the work. According to Hume and Kant's theory: aesthetics require taste and are subjective aesthetic qualities. He considers the value of a work of art not only to be based on beauty, but also to be a means of achieving aesthetics. From Kant's point of view, the concepts of aesthetics are intuitive, in which the human imagination provides an incentive to create a work of art. Kant states that the idea of aesthetics is realized by the genius of the artist, but its expression is done by the power of taste. From his point of view, beauty is subjective, but it is received by all humans. Musical aesthetics have also been linked to popular forms. Musical aesthetics have been met with issues such as authenticity. Therefore, if music belongs to a cultural environment and situation, it can be separated from its environment and performed for audiences in very different cultural conditions. In this case, if the aesthetic nature of music is only in its neutral performance, it can be considered an independent and independent performance, but if music is part of the context of its culture, then such performances are different works despite their differences.

One of the most important physical components of the city, which strengthens the relationship between citizens and the place, is the composition of the facade of the buildings, in other words, the urban facade.In urban design and development, the physical-aesthetic dimension is considered to be the most important quality in the urban space, the purpose of which is to create a pleasant feeling in the urban environment. Meanwhile, the walls of the streets are one of the most important dimensions of effective design on the aesthetics of the urban landscape due to their direct influence on the visual perception of the citizens. The current research tries to provide effective solutions to improve the aesthetic objective in the aspect of facades and residential walls by prioritizing the preferences of the observers.The research method is descriptive and analytical in terms of type and practical in terms of purpose. Information was collected through field visits, document studies and questionnaires. SPSS software was used to analyze the collected data from two viewpoints of observers and experts, and then the components obtained in the selected images of the region were analyzed based on the preferences of the users.The findings indicate that the components of color and texture of materials, sky line and volumetric porosity, from both points of view, are in the priority of evaluating residential wall beauty preferences. This article tries to provide suggestions to improve the conditions of urban walls by considering the physical indicators prioritized by supervisors and experts.