نور

Natural elements can make the environment warm and pleasant and make the spirit fresher and the behavior friendlier. Among the effective factors in the treatment process are the buildings that are built and the environmental features that have an important effect on the health and recovery of patients as well as the performance of mental people and employees. The goal of designing treatment environments with natural patterns is to improve the quality of life and the treatment process of patients. These patterns can include natural scenery, natural lighting, open and green spaces, and natural colors. These elements not only increase the beauty of the environment, but also have positive effects on the mood and recovery of patients. The present research is practical in terms of its purpose and its method is analytical. Expert judgments for weighting were collected through a questionnaire and a study method, which consisted of 23 articles related to the topic and included criteria such as nature therapy, healing relationship with the physical environment, light, color, plants and green space. The findings of the research show that the use of appropriate colors, natural light and plants in the treatment environment is effective and also facilitates the improvement of the quality of the treatment services and the improvement of the physiological and psychological performance of the patients. Reduction of stress, better sleep, feeling of freshness and generally affecting the patient's behavior and emotions are some of the effects of these criteria.

Aesthetics is a branch of philosophy that studies beauty and artistic taste. Aesthetic judgments are typically sensory and emotional. The philosophy of art is a sub-branch of aesthetics that focuses specifically on the nature of art. It explores the essence of art, its various forms, and the concepts and meanings associated with it. Generally, aesthetic judgments are about what one finds appealing or not, and artistic theories aim to understand and evaluate artistic creations.
Aesthetics is not merely about beauty; it also encompasses concepts like sublimity, ugliness, elegance, and taste. The appreciation of art involves contemplation, reflection, and the emotional and intellectual engagement one has with an artwork. These experiences are deeply personal and influenced by individual sensibilities, cultural backgrounds, and personal histories. We believe that aesthetic phenomena, like all sensory perceptions and actions, follow certain universal principles. The science of aesthetics, which seeks to understand these principles, has always been of interest to philosophers and art theorists.
Historically, artists in various artistic fields have always intuitively paid attention to aesthetic principles and strived to create works that exhibit aesthetic appeal. This pursuit of aesthetic excellence is evident across different art forms, including painting, sculpture, music, and literature. Even in seemingly technical fields like photography, aesthetic considerations are paramount. Establishing consistent aesthetic criteria for photography has been a challenging task, and many photographers initially approached photography with painting’s aesthetic standards in mind. This research aims to explore the relationship between photography and aesthetic theories, particularly in the context of the camera’s unique capabilities and the resulting visual experiences.
Abu Ali Muhammad ibn al-Hasan Ibn al-Haytham, often referred to as Ibn al-Haytham, was a prominent figure in the field of optics. He was a physicist, mathematician, astronomer, and philosopher. This renowned Muslim scholar of Iranian descent was born in Basra in 354 AH (965 AD) and passed away in Cairo in 430 AH (1038 AD).
He has numerous theories and articles in the field of optics, and he is known as the founder of modern optics. From his perspective, beauty is perceived through the form of visible objects, which are composed of multiple meanings. According to him, this process of visual perception occurs when the eye perceives light and its various properties. However, for us, the perception of these visible meanings (which are initially received by the sense of sight through the perception of color and light) is completed by the imagination, which draws upon stored visual data and integrates it with apparent sensory information. This integration results in a mental image that corresponds to the perceived reality. One of the key aspects of this process is how these meanings are perceived by the sense of sight and then understood in the mind. He explains the quality of this perception and lists 22 factors that contribute to it, including 1. Light 2. Color 3. Distance 4. Position 5. Shape 6. Size 7. Arrangement 8. Connection 9. Separation 10. Texture 11. Movement 12. Stillness 13. Smoothness 14. Roughness 15. Transparency 16. Opacity 17. Shadow 18. Illumination 19. Similarity 20. Difference 21. Proportion 22. Harmony.
He delves into the description and interpretation of each of the mentioned factors and believes that these twenty-two factors sometimes act individually and sometimes in combination to evoke aesthetic feelings in the viewer.
Nasrollah Kasraian was born in 1943 in the city of Abadan, Iran. Over nearly fifty years of photography, he has published thirty books. Although his role in Iranian photography and his influence have always been significant, he has consistently focused on the people and their lives. Kasraian has always portrayed the lives of Iranians in his work. His life and photography have been dedicated to depicting the struggles and changes in the world. He has had a profound and lasting impact on contemporary Iranian photography and can be considered one of the most important figures in shaping the national identity of modern Iranians.
This research aims to answer the fundamental question of how the photographs of Nasrollah Kasraian can be analyzed based on Ibn al-Haytham’s aesthetic theory.
The findings of this qualitative and descriptive-analytical research indicate that Ibn al-Haytham’s aesthetic theory, with its emphasis on twenty-two factors, structures, rules, and principles of photography derived from the visual arts, provides a comprehensive framework for analyzing photographs. Furthermore, by utilizing the elements of light and color and the twenty-two factors of Ibn al-Haytham’s aesthetic theory, the photographs of Nasrollah Kasraian have been analyzed.
Ibn al-Haytham considers eight conditions to be necessary for visual perception to occur, and he believes that without these conditions, visual perception will not be achieved. These eight conditions are: 1. The health of the eye, 2. The presence of light, 3. The appropriate distance between the eye and the visible object, 4. The placement of a visible object within the field of vision, 5. The absence of opacity between the eye and the visible object, 6. The transparency of the intervening medium between the eye and the visible object, 7. The appropriate size of the visible object, and 8. Sufficient coloring and texture of the visible object. Ibn al-Haytham considers these eight conditions to be prerequisites and the primary basis for the discussion of aesthetics.
Light: Ibn al-Haytham introduces light as the primary factor in visual beauty and believes that it is the sole factor that evokes aesthetic feelings in humans. In other words, he believes that luminous objects are the origin of aesthetic beauty. In photography, lighting is the most crucial element and the most important visual tool, whether it is natural or artificial light. Through lighting, one can define different moods for a subject. The selection of the type of light and how it falls on the subject can create different feelings and highlight various features within the subject, adding depth and transforming a two-dimensional image into a three-dimensional one. Sometimes, changing the light completely alters the meaning of a photograph and can turn one image into a completely different one, potentially with vastly different meanings.
Color: It is the second of the twenty-two aesthetic factors. From Ibn al-Haytham’s perspective, the combination of different colors and sometimes a single color alone can evoke beauty and visual pleasure in humans. He considers color to be inherent in the life of humans and also present in nature, and he believes that being colorful or having color evokes the sense of beauty in humans.
Color is one of the most important and influential elements in photography compared to other elements. Its surprising and diverse impact on the emotions and interests of the audience led to a new phase in the realm of photography with the introduction of color. Color also adds meaning to the photograph and sometimes changes its meaning and concept, to the extent that sometimes the composition of the photograph is done based on the color element. Colors in photography are one of the most important tools for expressing emotions.
In the picture of cooking Ash (a type of Iranian thick soup) during the Pir Shaliar ceremony, published in Kasraian’s Kurdistan book in 1993, the emphasis on the light emanating from above evokes a sense of the divine and the sacred. Kasraian, by accentuating the upward-shining light, seems to have sought to transform this photograph into a kind of continuous religious belief, and despite the volume and depth of the subject, the upward-shining light has been shaped like a halo, emphasizing the sacredness and spirituality of the subject. The cool blue color used in the image conveys a sense of serenity and peace to the viewer, reminding us of the vastness and tranquility of the sky. Furthermore, this blue color is in contrast with the warm red color of the flame.
The claim that prompted this research is the finding of a communicative link between the views of an Iranian philosopher, Ibn al-Haytham, and the field of photography. The research path was also based on this fundamental question: How can Kasraian’s photographs be analyzed using Ibn al-Haytham’s aesthetic theory? It must be said that this research, by examining each of the aesthetic factors, was able to find photographic examples. The research also analyzed Kasraian’s photographs by employing the components of light and color.

Problem statement: 

Light is the primary parameter in establishing a visual relationship between humans and their surroundings. Without it, many of our daily activities would not be possible in modern conditions. Studies indicate that daylight conditions in various indoor spaces influence the emotional responses of occupants. Since people today spend most of their time at home and in indoor environments, and they have both physical and psychological needs for daylight, architects must have the necessary knowledge about daylight and its relationship with emotional responses. However, studies in this field are limited, and existing research has been conducted in different geographic latitudes with varying lighting qualities.

This study aims to identify the key daylight factors affecting the emotional responses of residents in Tabriz city, examining the influence of gender, age, and housing type. Additionally, it explores the impact of window orientation and dimensions on residents’ emotional responses.

This study employed a survey research method and image processing of a sample residential unit in Tabriz using the Revit software in a simulated environment. The standardized Pratt and Russell questionnaire was used for assessment. Demographic characteristics, experimental conditions, and participant perceptions were then analyzed.

Results indicate that two factors—window size and orientation—significantly impact residents’ emotional responses. In the north and east orientations, increasing window size generally enhances residents’ vitality. However, in the south orientation, increasing window size tends to reduce overall vitality. Additionally, there is a minor significant relationship between gender, age, and emotional responses to daylight. The type of housing does not affect emotional responses to daylight.

Religious buildings have always held a special place and significance for humans and have been given particular attention by architects of every era. Mosques and churches are among the most prominent religious buildings constructed in Islam and Christianity, built to provide a spiritual and sacred space for worshippers. Light, one of the most essential elements, is not just a physical entity but a spiritual force that creates a greater sense of spirituality in these spaces, imparting a mystical sense to the environment. This article aims to compare and analyze the use of light in the architecture of mosques and churches, focusing on the Goharshad Mosque in Mashhad, the Jame’ Mosque of Isfahan, and the Nasir al-Mulk Mosque in Shiraz, as well as Tadao Ando’s Church of the Light, Notre Dame in Paris, and Sant’Ivo alla Sapienza in Rome. The research method used in this study is descriptive-analytical, with information gathered through both library and field studies. The results showed that the form and type of light usage in the two religious spaces of churches and mosques differ, but in both spaces, light is a powerful tool used to enhance the spiritual quality of the space and foster a deeper connection between humans and God.

Light plays an essential role in photography. Without light, no image is captured, but light is more than just a technical element. Light can be used to express feelings, ideas, and concepts. Light is a fundamental element in photography through which images are created and gain meaning. In different cultures, including Islamic culture, light has a symbolic and spiritual role. Surah An-Nur Ayat 35 in the Holy Quran is likened to divine light and includes concepts such as guidance, illumination, and spirituality. This research examines the photographic representation of light in the works of Shahriar Tavakoli, a contemporary Iranian photographer, based on Surah An-Nur Ayat 35. Shahryar Tavakoli, a modern Iranian photographer, specifically uses light in his works. In his photos, their spiritual atmosphere and peace inspire the audience with a sense of hope and faith. The purpose of this research is to understand the concept of Tavakoli’s works as a photographer with a religious approach. The problem investigated in this research is analyzing the photographic representation of light based on Surah An-Nur Ayat 35 and its effects on photographic images. The method of this research is descriptive-analytical. This research shows that just as light illuminates the space and the subject in Shahriar Tavakoli’s photos, in Surah An-Nur Ayat 35, God is like a bright lamp. The interpretation of this Ayat is as follows: The example of his light is like a lampstand in which there is a bright lamp.

Color and light play an important role in works of art and are considered important subjects in painting. Color as a visual property is used to make objects attractive and express feelings and ideas; While light, as one of the main elements of imaging, creates a sense of depth and reality in the image. In this research, two great Renaissance and contemporary artists, Rembrandt and Kamal al-Molk, have been selected. Rembrandt is the greatest artist of light and shadow style and a great Dutch painter, and Kamal al-Molk was one of the great artists of Naser al-Din Shah’s court, who seriously distanced himself from traditional Iranian painting. The current research is looking for the comparison of color and light in the works of Rembrandt and Kamal al-Molk. Baroque style and contemporary style have also been analyzed. In this research, first, the concept of color and light is examined separately and then the use of color and light in the works of these two artists is compared. Their stylistic similarities and differences have also been carefully examined. This analysis helps us to better understand the mutual cultural and artistic influences between two different historical and artistic periods and to know more about the artistic methods of each of these two great painters.

Mirrors have long played an important role in human life and have evolved from simple tools to see one’s reflection to exquisite decorative objects and profound cultural symbols. Mirrors have played an important role in various cultures and arts and are often considered a symbol of self-knowledge, truth, and the other world. Some experts believe that the first examples of mirror work in today’s form reached its peak in the Safavid period. Spirituality is a broad and multifaceted concept that has been given various definitions. In general, spirituality refers to the human relationship with categories beyond material things such as values, ethics, religion, mysticism, or anything that gives meaning to life. Spirituality can have many benefits for mental, physical, and spiritual health. The purpose of this research is to investigate how much the art of mirroring has been able to affect the spirituality and beauty of the space in Imam Reza’s shrine. The main question of this research is what role does mirroring play in creating a spiritual atmosphere in Imam Reza’s shrine? The method of this research is descriptive-analytical. Mirrors can be a powerful tool for self-discovery, exploring the inner world, and searching for spiritual truth. Using a mirror in the spiritual path can be a deep and transformative experience. The reflection of light in mirrors is a symbol of brightness and truth. The mirror work of Imam Reza’s shrine is not just a beautiful decoration, but a reflection of Iranian and Islamic history, art, and spirituality, which has remained bright and flourishing over time.

The concepts of similitude and transcendence in Islamic theology are fundamental and challenging topics that have been the focus of philosophers, theologians, and mystics throughout Islamic history. These concepts pertain to how God is described through divine names and attributes and the interpretation of the relationship between the multiplicity of the world and the essential unity of the divine. Similitude involves making God comparable to creation, which, if taken to extremes, may lead to restriction of the concept of divinity. Conversely, transcendence involves keeping God free from any resemblance to human attributes, which, if pursued without limits, can render the understanding of divinity obscure and inaccessible.The balance between these two approaches has always been a challenge in Islamic thought, and understanding this balance is crucial for a more precise appreciation of Islamic art. Islamic art, shaped by Islamic philosophy and mysticism, strives to find a way to express the divine truth without falling into extreme similitude or transcendence. Among the prominent Islamic mystics, Ibn Arabi has provided a balanced perspective on similitude and transcendence, attempting to harmonize and integrate these concepts. According to Ibn Arabi, a complete understanding of divinity and Islamic art depends on the synthesis and balance between these approaches. He believes that excess in either direction can lead to misguidance and a limited understanding of divine truth. Therefore, Islamic art, in its perfection, is an effort to create a balance between similitude and transcendence. Instead of a direct imitation of nature, it utilizes elements like light in such a way that reflects profound mystical concepts without falling into the extremes of similitude or transcendence.Light, as one of the primary elements in Islamic architecture, has always played a role beyond mere aesthetic considerations, serving as a symbol of divine presence and manifestations in the material world. The Sheikh Lotfollah Mosque, one of the most outstanding examples of Safavid architecture, especially in terms of light usage is considered a masterpiece. With its unique lighting design, this mosque not only creates a beautiful and enchanting space but also artistically displays profound mystical concepts.Ibn Arabi, a major Islamic mystic, pays special attention to the notion of absolute light as the manifestation of the divine essence. He interprets light not only as a physical phenomenon but as a symbol of divine truth appearing in the world. In this context, the Sheikh Lotfollah Mosque, through its use of light, symbolically refers to these divine manifestations, establishing a connection between Islamic art and mysticism.Although the architecture of the Sheikh Lotfollah Mosque has been extensively studied from aesthetic and historical perspectives, research specifically addressing the connection between the mosque’s lighting design and mystical concepts is relatively scarce. This study explores the relationship between lighting design in the Sheikh Lotfollah Mosque and the notions of absolute light and divine manifestations in Ibn Arabi’s mysticism. The primary questions are: How are absolute light and its manifestations reflected in the architecture of the Sheikh Lotfollah Mosque? To what extent can these reflections be aligned with Ibn Arabi’s mystical views? What is the connection between the concepts of similitude and transcendence in Ibn Arabi’s mysticism and the lighting design in the Sheikh Lotfollah Mosque?The research seeks to achieve the following objectives Analyze the reflection of absolute light and its manifestations in the architecture of the Sheikh Lotfollah Mosque. Comparative analysis of Ibn Arabi’s mystical views with the mosque’s lighting design clarifies the relationship between the concepts of similitude and transcendence and the lighting design in the mosque’s architecture. This research also analyses how a spiritual and mystical experience is created through the mosque’s lighting design. Given the importance of Islamic architecture in Iranian culture and art, a detailed and thorough examination of symbolic elements in these buildings can lead to a deeper understanding of the relationship between art, architecture, and Islamic mysticism. The Sheikh Lotfollah Mosque, as a prominent example of Safavid architecture, is significant not only historically and artistically but also in terms of its mystical concepts. This study can contribute to elucidating how profound mystical concepts are reflected in Islamic architecture and provide a comparative analysis between these concepts and architectural design. Ultimately, the research will directly enrich the study of Islamic architecture and mysticism and identify lesser-explored aspects of these works.

This article examines the effects of residential plan design on the circadian rhythm through natural light in common residential spaces in Tehran over the past decade. Light profoundly influences human health, and home architecture plays a pivotal role in regulating the body's daily rhythms. Given that individuals spend a significant portion of their time indoors, especially during the transition from day to night, the levels of natural light throughout the day serve as a vital biological measure for human well-being at home.. The study delves into the importance of light's effect on melanopic cells in the brain and the human body's circadian rhythm, emphasizing the necessity to explore a brightness factor that accurately reflects vertically received melanopic light, akin to the movement of the human eye within indoor spaces. The first part of the study involved developing a theoretical framework for investigating dynamic daylight by explaining several related areas such as human perception and the psychology of light, light and circadian rhythm of the body, light evaluation criteria, light in architecture, typical residential architecture in Tehran. Subsequently,, employing logical reasoning methods and referring to the previous section, a theoretical framework was developed and a research model was obtained. After reviewing related research backgrounds, various simulation models for light movement in architectural spaces were used to collect basic information required for this section. In this study, initially, several variables regarding plan design were examined on simple plans and preliminary analyses were conducted on their effects on circadian rhythm during selected days from 9 am to 1 pm. After understanding these variables separately for examining residential spaces' effects, common house plans in Tehran were selected based on previous studies. Several plan samples were taken from specific building locations and modeled using Rhinoceros 3D software and ALFA plugin. Then melanopic lux levels were measured at numerous points on an assumed grid in four directions at each point throughout the entire unit's plan. Design recommendations for improving the performance of circadian rhythm synchronization of the body with the environmental circadian rhythm, for common plans in Tehran while considering municipal regulations and relevant restrictions were proposed. These includedeepening the interior space based on the direction of openings leads to a decrease in the desired spatial percentage. This issue is less problematic in southern facades but significantly reduces space desirability in northern facades. Therefore, deepening the space in northern facades is not recommended. Dividing and breaking down the dimensions of interior space leads to a decrease in receivedEquivalent Melanopic Lux . In houses with two-sided northern and southern facades, it is recommended that the living room faces south and bedrooms face north. In apartments with two units per floor, it is recommended to divide units into two units with two-sided northern and southern facades. In addition to computer software simulations, field measurements were taken at two sample houses on-site under similar conditions as those in the software to match results and confirm their accuracy. The results confirm the accuracy of output results from the software.

Abstract Light has always been a symbol of theology in Iranian culture and therefore has a fundamental position in Islamic art. Islamic art basically uses the element of light as an allegory of the manifestation of absolute existence. Light is a manifestation of life and immortality and has been of special importance in many cultures, as a divine thing. In Islam, there are many verses, narrations and hadiths about light, which show the emphasis and attention of Islam on light. In the dictionary of the Quran, light is defined as follows: Light is what causes us to see things, its reflection or light rays from them to our eyes. Therefore, the visibility of objects depends on the existence of light, but in the phrase "Allah is the light of the heavens and the earth" it is meant that God Almighty is the light that even the existence of objects depends on his existence. In different periods and among civilizations, light has been used as a tool to express and emphasize the desired concepts and has played an important role in Islamic arts. Being aware of the role of light, artists have always taken advantage of it to give meaning to their works. One of the arts in which light is shown in a beautiful way is the art of glass and, accordingly, the chandeliers, which was used as one of the most widely used glass objects in mosques to provide lighting. Islamic architecture in Iran has a special emphasis on light and it is considered as the manifestation and symbol of existence. This architecture always reflects the holy place, life and the presence of light and affects the human soul. In Iranian architecture, the metaphor of light creates metaphysical meanings, and that is the constant presence of Yazdan. Light is always a virtue from heaven, truth and knowledge, even if it is sometimes hidden in the shadows of darkness. In Iranian architecture, light is not used uniformly and the use of this element has been very diverse and variable. Aqueducts and wooden windows decorated with colored glass with geometric composition are different methods of giving light, and it is this constant change and variety of color and light shade that conveys adequate and appropriate visual messages to the human eye can see. Paying attention to the role of light in art and architecture in the Islamic period is such that some people consider light to be the most important factor determining the identity of the work. For example, Bolkhari believes: "Light determines the intrinsic identity of the work of art. That is, it not only makes the work a symbol of the luminous manifestation of existence, but also gives it a glory that directly depicts "Allah is the light of the heavens and the earth". In mosques, to create a spiritual space, light is used as something beyond matter, and in order to direct it as best as possible to the interior spaces, various methods and techniques are presented, which is made possible by the design of light passages. In connection with the role of light in spiritual spaces, Titus Burckhardt said: "You cannot find a more complete symbol than light for spiritual unity. For this reason, Muslim artists are looking for materials that can make the light flutter in a way. The mosque is considered one of the most important elements of Islamic architecture and Islamic religion, and the Muslims of early Islam used it not only as a place of worship, but also as the most important center for gathering and solving community issues. Over time, the mosque became a place for the manifestation of the content and spirit of Islam, because artists could decorate it with arts such as calligraphy, tiling, and the use of the element of light. On the other hand, the Holy Quran is a source of inspiration for artists, and Quranic verses are the best moral and Islamic teachings that can be used in the mosque to remind people. Therefore, Quranic verses and decorations such as plant and geometric motifs were mixed together and the most beautiful and thought-provoking works of art were found in the mosque with the combination of light and color. Among the important furniture of mosques where light is manifested is chandelier, especially the luxurious type of it was placed next to the altar. By studying the position of light in Islamic art, this research tries to answer the question, what is the meaning of light in Islamic art and how is it shown in glass lanterns? By studying the concept of light in Islamic philosophy and on the other hand by studying different types of chandeliers, their structural form and how to use them, the result indicates that unlike other lighting devices which are used only as a tool to provide light, the chandeliers is not only It is a means of giving light to the surrounding environment, and at the same time, it also carries a valuable spiritual concept, thought and philosophy, which represents the highest gifts, that is, divine light. Also, the use of the role of this lamp in other Islamic arts such as painting, plastering, or literary poems can also confirm the spiritual use of these vessels.

Had television emerged in Eastern lands like Iran, it would have undoubtedly had different aesthetic characteristics today. Cinema and television are modern amalgamations of the European traditions of art forms such as painting, fiction, music, theater, and architecture—traditions that inevitably followed the culture of their birthplace in their shaping of the rules of film and TV. If we recognize TV as a communication medium, then it becomes a channel to disseminate localized content, and creating such content calls for adopting elements from the culture and art of target regions.Not only is Iran, an Islamic nation, among the many countries that practice TV localization, it has also always considered it a top priority. According to the Charter of the Islamic Republic of Iran Broadcasting (IRIB), promoting Islamic culture should be the primary focus of the corporation’s TV and radio programs. Non-fiction religious/spiritual programs have a special place among the genres produced by the IRIB; however, designing sets that best represent the content of such programs has rarely been a priority to its producers and, when attempted, has often been flawed.In many parts of the world, the use of light as an independent visual element has long been part of scenic design, especially in theater. Even so, despite its long-standing philosophical and artistic significance to Iranians, light has never been employed as a primary element in scenic design for TV programs in Iran. Revisiting the rich Islamic–Iranian philosophical and artistic traditions seems to be the best starting point to do that. Since sets are an essential medium for the communication of content in non-fiction TV, a purposive use of light in their design may be the most effective way to evoke notions from Islamic mysticism and philosophy—traditions that have been described as “made of light”. Not only does this use of light aid faithful visual representation of the content of such programs, but it also improves their appeal and mystical quality.This article explores the aesthetics of scenic design from Islamic–Iranian religious and cultural perspectives and takes an intracultural look at the conception of light in Islamic mysticism. By doing so, it aims to introduce a style of scenic design that most effectively represents the content of non-fiction Islamic TV programs. The article also tries to answer the following research question: “Based on Islamic mysticism and the philosophy of Islamic art, how can ideas be communicated through the use of light and color in TV scenic design?” The study was conducted as basic research in terms of purpose and analytical–descriptive research in terms of scope. The research information was collected from print and electronic sources alike and organized using note cards.The interdisciplinary nature and newness of the topic necessitated finding similarities between the information from the two domains—philosophy of Islamic art, and TV scenic design. This was to reveal how Islamic art’s approach to aesthetics, light, and color overlaps with the aesthetics and the use of light in TV scenic design, an originally non-Iranian craft. Accordingly, the information was inductively analyzed, whereby a general conclusion was drawn by synthesizing data from different sources. The study reviewed the literature on the conception of light, color, and aesthetics in Islamic philosophy and art to extract principles that could guide the use of light and color in TV scenic design. In establishing a link between scenic design and Islamic art, the study relied on the theory of “form–content congruity in Islamic art” by philosopher of art, Hassan Bolkhari Qehi, making the research also comparative in this regard.The study found that consulting the philosophy of Islamic art, along with the embodiment of its conception of light in Islamic–Iranian art and architecture, makes it possible to achieve a sophisticated aesthetic and the highest degree of form–content congruity in scenic design for non-fiction Islamic TV programs. Since the study focused only on design and content, further research is needed to investigate viewer experience in practice.

This article investigates the symbolic and emotional roles of color in Corpse Bride (2005), a full-length stop-motion picture directed by Tim Burton and Mike Johnson. Using a qualitative research method, the method of color utilization is used to illustrate the characters, and the dichotomy of the sociocultural conditions depicted in the two story settings within the film. The applied colors convey emotional impressions and symbolic meanings, which can be attributed to the theories of color aesthetics expressed by Johannes Itten. Both the lighting color and color of visual elements imply various meanings, reflecting the characters' moods and feelings as well as their social, cultural contexts and the atmosphere of their places. The filmmakers have been successful in this attempt as they use colors artfully for specific times and places of the story. Generally, in Burton’s films, the protagonist journeys to a colored world, sometimes through a means of transition or passing through a rabbit-hole. In Corpse Bride, the hero struggles between the two worlds of the dead and living. One is designed in a boring and miserable atmosphere like a living world, it is in contrast with the dead world, which is colorful with sense of vitality of life and freeness. The living world is concurrent with the Victorian era (19th century Britain), experiencing the dominant issues of the Industrial Revolution. As the story takes place in this period, the study describes how the applied colors work as the elements showing the moods and emotional feelings of the characters that living world is expressed with their own specific colors. The directors presented such a difference through using types of opposing colors. Two color palettes constitute the color values utilized to depict the world. Each palette contains colors to help reflect particular traits of its own world which root in its ruling ideology and the hero’s attitudes, behaviors and beliefs. Therefore, the colors in the dead world are pure saturated values that depict a pleasant atmosphere, whereas a range of saturated values in gray illustrate the living world to be depressing and gloomy. In fact, the directors reveal the unhappy feelings of the living world through a series of combined gray colors to show its residents in their own society involved with strict matters and hardships. The film shows two types of worlds, one extracted from the real world and the other comes from their imagination. Although they both display the places of a story, they are considerably different in terms of their creation as parts of visual elements for an animated film. Developing the living world’s concept, the directors might be assisted by experiences of the real world as they know, as well as studying the Victorian era, while creation of the dead world was only dependent on his imagination of such an unseen world. Thus, the main significant reason for showing these objective and subjective worlds was the particular utilization of color in order to contrast and depict the mindset attributed to each place.

Existence and role, (Surah Noor, verse 35, "Allah is the light of the heavens and the earth"), God is the light of the heavens and the earth. The manifestation of God's presence in Islamic architecture and religious spaces is light. The surrounding of light is that which includes itself and others. Light actually illuminates others as well. Light is something that is apparent by its essence. It also appears.In this research, he examines the judgment of the Noor verse in the Quranic inscriptions, taken from the Quranic verses. Light is always the manifestation of God, which has been used in Islamic architecture as a valuable example. In the research method, the interpretation approach and the text analysis method have been used in understanding the verses of the Qur'an. In Quranic teachings, light is the expression of God's manifestation and the creation of a spiritual atmosphere, the symbolic role of that revelation, and being guided to pure light and illumination. The function of sacred art in general is to be a carrier for the divine presence, and the result of the Muslim artist imagines this function as the presence but also as the release of the mysterious whole. It is not just some kind of glimmer of light from another world.

The Qur'an has unique and exceptional capacities and everyone can benefit from this infinite ocean according to their existential and epistemological capacity and talent; in the sense that behind its simple appearance, deep and endless concepts and issues are hidden. Islamic mysticism in the light of the Qur'an, traditions, and hadiths of the infallibles, in the topics of ontology and monotheism, is full of intellectual richness and depth of thought, which every time with careful reflection on these teachings, new horizons and wider spaces are revealed and opened. Some of these concepts are the result of attraction and inspiration, and some have an argumentative and descriptive aspect that is obtained in the field of Qur'anic and religious teachings. Verse 35 of Sura Noor is one of the verses that has an amazing allegory about a transcendent and transcendental truth. Every thoughtful commentator, depending on the level of faith, intuition, and reasoning, has received and understood this noble verse that although there are differences in the form of expression and the form of discussion of each one, the essence of each is connected to the same truth. The simile used in this verse, like other Qur'anic similes, brings the concepts as close as possible to the mind of the audience. In this beautiful allegory, there are secrets and hidden things that sometimes need to be expressed in a symbolic language. Symbology is an efficient tool to access higher meanings of the worldly and natural life of man, which is formed in the world beyond him. Therefore, it is especially used in retrieving the concepts of the holy texts, which show the relationship between man and the world beyond himself. Muslim thinkers have accepted symbolism in some verses of the Qur'an and mentioned it with expressions such as "symbolic". Of course, these scholars did not introduce symbolism in the sense of negation of knowledge-giving Qur'anic propositions. The aim of the present research is to investigate the symbology of the verse of light and a careful search to find the symbolic meaning of the verse of light in the form of Islamic architectural decorations in Iran. The main questions of this research are: 1. How is the symbolic concept of the verse of light displayed in the decorations of Iranian mosques? 2. Which pattern is more famous and useful than other motifs? Islamic art is a great treasure of great mystical meanings and divine wisdom; the root of this art should be sought in the deep foundations of spiritual and divine thinking. Thinking and meditating on the inner aspect of this art and symbolic language, which contains mystical and metaphysical foundations, is an undeniable necessity. The necessity and importance of this research is due to the fact that there are many shortcomings in this field in researches. In this article, we will examine the symbolic meaning of Islamic architectural decorations in the form of analyzing some motifs, in connection with the symbolic meaning of the verse of light, and along with these elements, we will analyze and investigate the mystical and metaphysical foundations of these motifs. The research method in this research is descriptive-analytical and with a structural and visual study through a comparative approach. The method of data analysis in this research is qualitative. The primary information of this research was collected through library studies and the secondary information was collected through field studies. The statistical population of the research includes examples of mosques in historical periods in Iran. The Qandeel symbol, used in the altar of mosques and tombstones, and altar tiles, has been identified and studied from the point of view of symbology. To analyze the data, the desired motifs were photographed and their motifs were extracted using AutoCAD software. The results of this research show the verse of light is one of the few cases that refers to an element as a symbol in the Holy Qur'an. As can be understood from the meaning of the verse, in order to better understand the concepts in the audience's mind, God expresses his light as a symbol with the analogy of a lamp inside the altar. After the interpretation of the verse by Islamic commentators and scholars, Qandeel's role in Islamic art has been repeatedly used as a symbolic meaning of the verse of light. Apart from this role, the symbolism of the verse of light can be seen and analyzed in other decorative elements of the mosque, such as Muqarnas, applications to regular faces, and light-retaining meshes, in which geometry and light help each other to manifest existence. Due to the direct connection between the visual nature of Qandeel and the example mentioned in the verse of light, this pattern has served as a reminder of the verse of light more than other decorative motifs of mosques.