beauty

The purpose of this research is to explain the basics of beauty in the Quran and provide a model for aesthetic training based on it. The qualitative research method is based on the analysis of a comparison. The field of research includes the analysis of verses of the Quran and all sources related to the topic of aesthetic education from the perspective of the Quran, the method of target sampling and the method of data collection, the method of data collection and the method of data analysis, the method of content analysis using analog classification systems that use the coding method. . The subject uses three steps and the data is analyzed in the open subject. And the coding method is used in this research to check the validity of the believability quality and for the reliability of the criteria. The results show that the concept of beauty and its foundations in the Qur'an includes three general components of appropriateness, meaning and purposefulness, which are obtained from the combination of about 152 conceptual concepts and 16 main categories and are related to the principles and foundations of beauty education methods in the Qur'an. The results indicate that the principles of beauty in the Qur'an include the principle of being like God, the principle of relationship, coherence, purposefulness, refinement of the mind, the principle of self-sacrifice, forgiveness, humility, coherence, between form and content, gratitude, regularity, honesty, realization, principle Respect, the principle of similarity to beauty, the principle of proportion and harmony,

Beauty is sometimes a feeling and sometimes a perception of pleasure and inner satisfaction that naturally emerges and manifests itself at every level of human existence. The beauty of a person depends on the proportion of his similarity and closeness to the Almighty God, which is achieved through hikma, that is, by cultivating the intellect through sound knowledge and righteous action, and by making the intellect dominate over illusion, imagination, and the body. The result is the enjoyment of health at the level of the body, beauty and art at the level of imagination, moral virtues at the level of fancy, and finding a way to the inner world at the level of intellect and beyond. The connection of hikma with science and art means that the scientist and artist base their knowledge, insight, motivation, tendency, character, method, and action on hikma. The theory of the revolutionary system, which is proposed in the statement of the second step of the revolution and has three pillars of self-development, socialization, and civilization, will be based on the universal and innate slogans of the Islamic Revolution, that is, it will be derived from hikma. Considering the general public's susceptibility to imaginary matters, the hikmii art has an unparalleled importance and role in directing the people of society towards the three aforementioned pillars. In order to achieve this, the necessity of creating hikmii governance becomes more and more apparent.

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.

Problem statement: 

The disorders of Tehran’s urban appearance are a point of consensus among groups concerned with urban facades. However, an examination of urban specialists’ opinions on the matter reveals a lack of consensus regarding the ideal urban appearance.What epistemological foundations underpin the architectural and urbanism trends in Iran concerning the issue of disorder in Tehran’s urban appearance, and which of these foundations is more suitable for managing urban appearance?

Research objective:

This study aims to analyze the philosophical origins of the actions of Iranian architectural and urbanism trends concerning the disorder of Tehran’s urban appearance.

To answer the research question, a qualitative method was employed in two stages based on logical reasoning. Initially, historical library studies were conducted to determine the temporal origin of the phenomenon of urban disarray. Subsequently, based on the classification of intellectual trends in Iranian architecture and urban planninga phenomenological description was made of the views of urban specialists on the causes of Tehran’s urban appearances’ chaos, and these views were compared to their intellectual characteristics, presented as a series of dichotomies. Finally, by examining the philosophical foundations by determining the epistemology of these dichotomies, the research question was addressed.

There is no consensus on understanding the word “Disorder” among architecture and urbanism Trends. Tending to either side of the dichotomy of form and its attributes or content is rooted in our epistemology, where the philosophical explanation of the relationship between the objective and the subjective is crucial. The kind of relationship between objectivity and subjectivity leads to two distinct outcomes in urban appearance. In the case of separation, urban appearance is perceived as an external matter, dominated by geometry and inclined towards Deterministic order, hence managed by specialists. The comprehensive plan for Tehran is a product of this approach. Conversely, in the case of the intertwining of the object and the subject urban appearance becomes perceptional, and beautifying it is neither external nor formal, thus cannot be delegated to specialists. This approach appears to be philosophically more defensible than others. The order derived from this perspective corresponds with the agency and dynamic existence of humans, characterized as inferential, minimal, and fluid.

The aim of this article is to conduct a comparative study of aesthetic experience based on the thoughts of Allameh Tabataba’i (RA) and Allameh Ja’fari (RA). In this research, the research method is descriptive and analytical, the library method was used to collect information, and the tool for collecting information was taking notes from books. The results of the research show that: From Allameh Tabataba’i’s perspective: a) Beauty is the agreement and compatibility of a good and beautiful object with the purpose and goal that is intended by that object. B) Beauty has different types, such as the beauty of objective matters, the beauty of abstract matters, and the beauty found in actions and deeds. C) Beauty is a relative concept. D) Aesthetic education is the provision of a set of activities and means that are attractive and pleasing to the intellect, soul, and senses, in order to achieve a desirable process of growth and perfection in accordance with the innate abilities of the trainee, together with a knowledgeable instructor, and to arouse in them the spirit of seeking and accepting rights, mastery, moderation, coherence, and inner joy. From the perspective of Allameh Jafari: a) Beauty is a clear and transparent manifestation that is drawn on perfection. B) Beauty has different types, such as tangible beauty, reasonable beauty, tangible beauty based on reasonable beauty, and reasonable beauty based on tangible beauty. C) Beauty is a relative concept. D) Aesthetic education is the application of methods in education in such a way that the element of pleasure, perfection, and harmony is used in every human experience and in a conscious performance, and all forms of education are considered various aspects of this education.

Wisdom is the gateway to direct understanding of the created world of God. The wise man is the caliph of God on earth; he looks with the eye of the hereafter and hears with the ear of another because the truth of the created world of the Merciful Creator is in the eyes and ears of the head should not be exposed, but requires such a high container, such a worthy container. From the beginning, philosophers of the Islamic period have included the concept of resembling God to the extent of human capacity in the definition of wisdom. The Brothers of Safa (Akhawan al-Safa) also included the same definition in their treatises. In their definition of the extent of philosophy, they wrote that “it is resembling God to the extent of human capacity,” and the resembling refers to “sciences and crafts and the dissemination of goodness.”From the point of view that the Almighty is “the knowledge of the scholars, the wisdom of the sages, the creation of crafts and the best of the people” and to the extent that each person’s rank in science, crafts, and wisdom increases, he gets closer to God. As far as philosophy is concerned, this definition is not descriptive, and theoretical wisdom is similar to God’s attributes, such as being All-Knowing and Wise. Practical wisdom, on the other hand, is similar to other attributes such as God’s goodness, justice, and benevolence. Wisdom, this knowledge given by Hazrat-e Doost, is the foundation on which Islamic knowledge is manifested; A complete knowledge that removes the veil from the whole world. “Islamic education is a collection of divine and human knowledge, whose roots are rooted in the source of Islamic revelation, and from which grace has been drawn, and over the centuries, it has benefited from various sources, from Greece, Alexandria, and Rome to Iran, India, and China. It has become a stout tree. By applying wisdom and relying on Islamic teachings manifested in verses and hadiths, the worlds of creation (both the great world and the small world and its adjuncts) are understood by the sage. Among the most important temporary additions of human beings are human actions, actions that the creation of the wise man tries to copy from the action of the Supreme Creator, the manifestation of this similarity is the position of “invention”; Because the supreme creator is the originator of the heavens and the earth, and he is the creator of the great world (nature and everything that can be perceived by man) and the small world (man).By applying wisdom and relying on Islamic teachings manifested in verses and hadiths, the worlds of creation (both the great world and the small world and its adjuncts) are understood by the sage. One of the most significant temporary additions of human beings is their actions. These actions are often attempts to mimic the actions of the Almighty Creator, with the manifestation of this similarity being referred to as “invention”. The supreme creator is responsible for creating the heavens and the earth, as well as the vast world of nature and everything perceivable by man, including man himself. The position of innovation is a great container that is only worthy of a wise man, a perfect human being: a soul with the merit of being a container for attributes attributed to the divine essence. Yes, Maqam is the creation of the savior and supporter of man for the continuation and facilitation of life in the great world. From the very beginning of living on earth, the perfect human being, while knowing his needs, relying on the powers of reasoning and the clear flow of wisdom, and with the help of the basic materials and necessities available in nature, has invented industries and tools to solve his shortcomings.From covering your body with plant fibers (in the initial moments of landing on the earth) to building houses at the bottom of rivers, making earthenware and metal objects, all of them were invented by the perfect human in the beginning, and their evolution throughout history until today has evolved. Based on archeological evidence, these inventions have been produced in the simplest possible way, using natural raw materials in a simple form that meets human needs. This initial simplicity, besides notable efficiency throughout history, has become more complex with the human environment becoming more complex (due to factors such as socialization and the creation of national and cultural geographical areas, etc. ). And the new tools are still the result of the same basic human needs. The Caliph of Allah, the human being, used the position of innovation inherited from the Supreme Being in inventing artificial inventions to meet the needs of life, through the first wisdom of donating to the Supreme Being and resulting from the glorified attributes of God, to divine saints and perfect human beings.It led to the creation of tools, crafts, and industries that solved the problems faced by people. The process of innovation in the act of a perfect human being is hindered by the essential deficiencies of human beings and the inherent limitations of living on earth, including the passage of time. This process has a completely different order from the position of the perfection of creation, the position of the supreme essence, and the position of “Kon Fayakun”. It is manifested in his product and main product. From this entry, the creation of an imperfect creator is an imperfect product. The human intellect, as the first creation of excellence, recognizes perfection and beauty through deficiency in the order of analogy. In this analogy, the shortcomings of human creation are revealed. To eliminate these shortcomings, one can take advantage of the beauty attributes given by the Supreme Being. By observing the perfection and beauty of nature, one can adorn their imperfect creations with familiar arrays found in nature. This act requires courage and faith in God.

In the field of painting, artists have penetrated the conventional boundaries of painting and set new standards, including Mohammad Siah Qalam. The problem of this research is how to use pictorial and visual elements as well as design in Mohammad Siah Qalam's divination. The difference between this research and the previous researches is in dealing with the pictorial, visual and design elements in Mohammad Siah Qalam's divination to show the two concepts of ugliness and beauty at the same time. One of the goals of this research is to deal with the neglected aspects of Siah Qalam's madhouses, as well as to analyze how ugly manifestations are reflected in it, with an emphasis on Mohammad Siah Qalam's demon paintings.Beauty in Iranian painting is the result of visual harmony and proportion; The beauty of harmony and proportion is a relative matter that is influenced by factors such as living environment, practice, experience, and education, and the repetition of concepts based on certain forms with similar structures causes the soul to get used to it, and this habit of the soul causes beauty. Be these concepts. But beauty, if it is relative to the truth, will always be beautiful and is not relative; Mohammad Siah Qalam painted the daily life of ordinary people during his lifetime and ignored the rules of the royal workshop-library, he is considered a realist artist, and at the same time, the way he dealt with the subjects he chose was with a formal method. Mohammad Siah Qalam, in his second period of painting, created a transformation in his work style; And for social criticism, he chose satire along with Grotesquera. The necessity and importance of the upcoming research is to investigate and research about the concepts and causes of this style of painting (which is neglected compared to the conventional style of the time of the painter under study); The new and original aspect of this research is the neglect of the concept of ugliness and specifically ugliness and madness in Iranian painting. The difference between this research and the previous researches is in dealing with the pictorial and visual elements and design in Mohammad Siah Qalam's divination to show the two concepts of ugliness and beauty at the same time. The aspect of innovation in the analysis is the reflection of the opposition of these two concepts in the demonizations of Professor Mohammad Siah Qalam. The concept called "beautiful" is one of the constant elements in the discussions of the philosophy of art, and different views have been presented about it. In parallel with beauty, another concept is formed called "ugliness". Unlike beauty, it is not the focus of art and philosophy researchers. In fact, the definition of ugliness is using the concept of beauty. The concept of evil is related to ugliness. To define these two concepts, their opposite concepts (goodness and beauty) can be used. These concepts can be traced in the history of Iranian art and painting. Ugliness plays an important role in this, it has been neglected. This role is remarkable and thoughtful in the works of painting and especially in the madness of Mohammad Sieh Qalam. An artist whose tendency to break the foundation and remove familiarity can be seen in his works. Regarding the way of coloring the works of Mohammad Siah Qalam, it should be said that in most of the works related to the second period of his work, we see the use of partial and spiritual colors. But in the later style, the colors are not uniform and dark colors are used. In such a way that he first removed the motifs with dark colors and then using dark colors, he painted them raw brown grays. The color in the works of black pen is very heavy and harsh and sometimes very bright; Garlic to light pea grades. Different tones of bright colors were used in his painting, the colors were dull and dark. The works of the second period of his paintings are different works compared to the first period, which have symbolic concepts in all areas such as the type of frame, the type of lines, the coloring method.This research has collected the materials using a descriptive-analytical method and using vouchers, library sources and documents. The method of qualitative information analysis has been investigated through information analysis using books, articles, researches and researches related to the subject of Mohammad Siah Qalam's paintings (here focusing on visual and visual elements and design). The findings of the research indicate that there are elements of humor, play, entertainment and vitality in the black ink drawings. In order to draw beauty and ugliness, he has used the lens of focusing on visual elements and design in murals, which categorization and separation are among the achievements of this research.

Problem Definition: 

In his philosophical components, Mulla Sadra expressed elegance in such a way that the influence of these thoughts was reflected in the artworks of the Safavid era, especially in the "Isfahan Painting School". The most important artistic trend of this school was formed by Reza Abbasi and his students; in their works, motifs and topics related to the surrounding world and the cultural-artistic society of that time can be seen. In terms of the use of visual elements as well as the content, it corresponds to the philosophical-mystical components of Mulla Sadra, especially in the viewpoints related to beauty and love. The paintings and Muraqqa pieces attributed to Reza Abbasi and his followers form the statistical community of the present research, which are studied to evaluate how the "philosophical components of Mulla Sadra" appear in the paintings of the Isfahan school. The question of the research is: "What is the relationship between the philosophical components of Mulla Sadra and Isfahan school painting in terms of elegance by focusing on Isfahan school painting works"?

 The present study aims to discover the elegance hidden in the illustrated works of the Isfahan school of painting and to match them with Mulla Sadra's views on beauty.

 This study applies a descriptive-analytical method with a comparative approach, which was done by collecting library-documentary data. The statistical population includes a selection of the most distinguished paintings and Muraqqas of the Isfahan school, which were created by Reza Abbasi and his students.

The obtained data shows the elements used in the paintings and Muraqqas attributed to Reza Abbasi and his students are a reflection of elegance in both form and content, which can be traced to the mystical philosophical components of Mulla Sadra. In these works, the external and internal beauties, some of which are shown as codes and symbols, show the social-cultural situation of the Safavid period and the philosophical-mystical thoughts of that time. In other words, the works of Reza Abbasi and his students, as an outstanding example of the Isfahan school of painting, are related to the components of Mullah Sadra in terms of elegance.

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.

There has been a lot of debate among scholars of Islamic art about whether Islamic aesthetics or the philosophy of Islamic art does or does not exist. Some of those who agree with the topic believe that Islamic aesthetics is adequately addressed in Islamic texts. And the examination of the texts, i.e. the Holy Qur'an, the works of Muslim philosophers, and the mystical texts, leads us to understand what Islamic aesthetics is. Those who disagree, on the other hand, see the theory as fundamentally contradictory, arguing that there is no such thing as Islamic aesthetics in the semantic horizon of the sacred texts. So, what is commonly referred to as evidence for Islamic aesthetics goes beyond the theoretical framework of "aesthetics".  Thus, this research mainly focused on whether in the sacred texts and the intellectual heritage of Muslims, there are remarks that confirm the concept of Islamic aesthetics in the sense of aesthetics or not. We seek to address the question based on Islamic thoughts mostly Saeed Tawfiq's views. The findings show that understanding the opinions of the thinkers in the two fields requires a kind of decoding of the Islamic terms due to the inconsistency of the terms used and, more importantly, the difference in their semantic aspects. In fact, it is more likely to address the above question by matching or finding equivalent aesthetic terms in Islamic thought.

David Hume's reflections on aesthetics and the standard of taste, as well as George Dickie's philosophy of art presented in the form of the “Institutional Theory of Art”, are both based on a social and sociological origin. According to Hume, the standard of correctness of aesthetic judgments is the joint verdict of true judges, which is true and correct in all circumstances due to the lack of defects in the faculty of taste. The institutional theory of art was presented in the middle of the 20th century, focusing on the necessity of redefining the boundary between art and non-art. A theory according to which, granting the dignity of art to an artificial object is done by a person or persons who act on behalf of the artworld as a social institution, and their judgment in granting dignity to an artificial object, in order to evaluate or honor it as a work of art compared to other opinions, is generally accepted and has authority due to its continuous connection with the artworld and delicacy. As a result, the main question of the research is to explore the importance of consensus on issuing aesthetic judgments and valuing works of art on the one hand, and explaining the distinction between art and non-art on the other hand, according to “true judges” and “qualified” people. This research, which was carried out using the comparative method and its data was collected in a library manner, first studies the concept of judgment of taste and then evaluates the relationship between Hume's aesthetics and the institutional theory of art.

The present essay is based on the foundation of the existence of aesthetic experience and aesthetic judgment, putting the sustainable approach in the category of clothing, experience, and judgment as the main axis of explanation and in this way, freeing the discussion from the prevailing challenges and then By addressing the place of knowledge in the aesthetic experience, a definition suitable for today’s human relationship with the world of art in the field of fashion design will be reached. Sustainable living is a movement that began its activity to defend the environment in the 18th century in Europe, and with the idea of egalitarianism, libertarianism, and the defense of environmental rights, it became popular in fashion design from the late 1960s onwards. Textile design is a changing field of aesthetics that relies on the constant replacement of new designs with the objective of economic exploitation. But today, attention to preserving the environment and utilizing resources has become an important challenge in the path of human life continuity, and the field of textiles, replacing recyclable materials, durable materials and using production methods that comply with environmental standards and... It has been proposed as an alternative to traditional production and a new challenge in the area of design and aesthetics. Designers have turned to new methods for designing textiles, such as using natural and recycled materials and reusing used textiles. Therefore, to achieve the aesthetic criteria of bio-sustainable textiles, the current research has investigated the theories governing this field and with the descriptive-analytical method and library resources, it is trying to present the criteria resulting from this design method. Examining the experiences of designing in this way in recent times shows that this strategy, with ethical attitudes and phenomenological design of the concept of beauty, seeks to develop the personal experiences of the consumer through defamiliarization, transformation of values, attention to cultural values, and the rejection of speculative beauty.

 The concept of taste’ is one of the prominent concepts in art and architecture. This concept is widely used in various fields, such as interior architecture: from deciding on the quality and overall quality of the interior space to determining the materials of the place, choosing furniture and arranging the elements of the interior space, we can trace the presence of ‘taste decision’. On the one hand, it seems like a simple and obvious concept that is present in our daily product selection experience. On the other hand, due to its complexities and dependence on various factors, it seems that it is necessary to pay attention on this complex and complicated issue; With this question, ‘what meaning(s) of taste can be found in art and architecture-interior architecture? The purpose of this research is to understand the different semantic layers of taste to clarify its meaning and provide a way to enter into the discussion about it. For this purpose, the research started with the linguistic study of taste. Then, the origin of taste since it penetrated into art and architecture and the changes and transformations it has undergone until now, were explored. In other words, the way and process of the transformation of the concept of taste from long ago to the present day was followed in order to recognize different explanations and interpretations. So, this research is focused on reviewing the background of the concept of taste from the beginning of searchable moments to the fields of art and architecture-internal architecture; The three main fields of philosophy, social sciences, and psychological sciences provide the possibility of knowing the different layers of the concept of taste so that different dimensions and contexts can be explained. Studies show that almost two important milestones can be identified in the genealogy of taste in art and architecture: first, it is the moment of its emergence in the field of art and architecture, which is used instead of the word ‘judgment’. In this era, the concept of taste created a great change in understanding of subject-object relationship. The second one is the moment of its entry into the field of social sciences. This time, the concept of taste had become a means to understand consumer behavior. From the sum of these studies, it seems that five general concepts are hidden in different semantical layers of taste: beauty, distinction, lifestyle, fashion, and preference. Each of these layers, while being continuous, has a specific meaning range in a specific field; And they show us a certain aspect of taste, which will be briefly mentioned here. The concept of beauty is more theoretical and philosophical. In the philosophical discussions of taste, these two terms are mostly together. The other four terms are related to when taste comes together with choice and emerges. The concepts of distinction, lifestyle, and fashion have more social meaning and each of them shows how social conditions and status can affect taste. And finally, it should be said that when we use preference, the goal is mostly to understand the internal conditions and activities and developments in the brain.

The history of The Enneads in history of philosophy is an amazing history. Originally, this book is the collection of writings of Plotinus (a major Hellenistic philosopher , 204/5 – 270 CE) that which have been edited and compiled and published by his great student, Porphyry of Tyre(a Neo-Platonist philosopher 234 – 305 CE,) and has been called The Enneads . But in 3th Hijrat century one Arab translator, Ibn e Naeme Hemsi , translated one book and called it Aristotle’s theology or Theology of Aristotle (in Arabic اثولوجیا (ارسطا طالیس . In the history of philosophy, especially Islamic one, this book has been known as Porphyry Interpretation On Aristotle’s Views. In the other words, the book was known as Aristotle’s thoughts interpretation. Muslims philosophers thought this book belongs to Aristotle, so they try to approach Platoand Aristotle’s thoughts. Muslims philosophers have also explained the book. For example Avicenna and Farabi, who probably tried to gather the ideas of Plato and Aristotle in his book "The gathering of the ideas of the two philosophers". according to The Enneads . But one of the most important interpretation belongs to Qazi Saeed Qomi. In this article I tried to present a Muslim wisdom's interpretation on a Greek text on emphasize on beauty.

Beauty in art and the universe - which is derived from divine attributes - will be a witness of a divine nature. Such art is appropriate and suitable for expression of divine truth. The works of Traditionalists, has always been the traditional source of divine beauty in art but "How is the expression of God's beauty in the face of traditional art"?The present research is based on the acceptance of the traditionalist doctrines of art and seeks to: Explain direction of God's traditions and manifestation in the different forms of traditional art.This research is of a qualitative research type. The authors tried to understand the rules and general provisions in this chapter with using literature review and the method of descriptive and analytical. Finally, it seems that: can be obtained transparent way for the manifestation of God in the beauty of traditional art with nature and perfection topic.

Today’s generation of questions has shown a strong desire for new questions and seeks to find an answer to their questioning mind. One of these significant and influential issues is the topic of art and its place in human life. In this article, with a logical and scientific method, we decided to answer what art is and its types, and its place in human life according to the approach of Allameh Mohammad Taqi Mesbah Yazdi. At first, art was examined from the point of view of etymology, and then I discussed its lexical issues, which in the word is synonymous with art, skill, perfection, frost, etc. In the following, the opinion of Allameh Mohammad Taqi Mesbah is examined. Mesbah introduces humanity’s desirable art as a religion and considers it as a goal because it leads to human growth and perfection. He considers beauty to be the distinguishing feature of desirable art from other types of art and defines beauty as the understanding of an object or a work suitable to the soul that causes surprise and pleasure. He has considered a general meaning in art, which is almost synonymous with skill, and he introduces it as the act of doing it regularly and purposefully by the subject to the will and trying to achieve it with greater speed and perfection (or directed in the best possible way) completed; To make it spend less time and materials and get more results.

The notion of beauty has for long attracted the attention of mystics and Islamic mysticism thinkers. Therefore, numerous problems concerning beauty, its essence and how it comes into being were raised, and different approaches to aspects of beauty such as beauty from epistemological, ontological and axiological perspectives were adopted. Rouzbahan Bagli Shirazi is among the mystics who pointed in his works to the notion either directly or indirectly. It seems that he drew on his intellectual principles so as to make novel epistemological contributions to the field. In this study, epistemological aspects of his approach and descriptive-aesthetic analysis of his own intuitions and perceptions will be reviewed so as to highlight the characteristics of Rouzbahan’s epistemological inferences of the notion of beauty. The findings of present study suggest that Rouzbahan adopted a different approach to aestheticism than other mystics. In addition, he paid significant attention to the notion of beauty in different areas such as interpretation of Quran verses and epistemological intuitions and experiences.  Although his approach to the notion of beauty has commonalities with his predecessor’s philosophical tradition and it is premised on abstract and subjective thinking but it has an imaginative and intuitive aspect too. As a result, he minted new words to address beauty. As to the most significant words he used in such discussions, one could point to the terms, “Hosn”, “Jama’l”, and “Mostahsan” and “Mostaqbah”. The results suggest that Rouzbahan’s novel terms on beauty differed in terms of type of epistemological intuitions and diversity of epistemological experiences and each term refers to an aspect of his mystical aestheticism. : Aestheticism

The history of beauty and love in Iran is very old. Although Iranian writers and poets talked a lot about beauty and love, they did not provide a clear definition of this concept, but they were always fascinated by beauty, wisdom and love. The aesthetic constructs discussed in these research topics are different from those discussed in aesthetics today. When talking about beauty, Suhravardi uses the word Hassan and considers Hassan to be synonymous with beauty and perfection. The bond of beauty and romantic love are the two main categories to which aesthetics can be carefully assigned. First, with a mystical approach and in the light of the opinions of sages and philosophers, an attempt is made to examine the relationship between Suhrawardi's mystical beauty and love for aesthetics.

We went through the Fotouhat book and scrutinized it, having this question in mind whether the relation between form and content or word and meaning and also the way they interact with each other, has been a matter of consideration for Ibn-Arabi or not. Additionally, assuming that it has been a matter of consideration for him and he has had a specific point of view, whether he has criticized a literary work based on his point of view or not? We came across some pages in this book intrusively, in which our two concerns have been addressed with a ‘yes’ answer. The gist of his elaborate answer to our first question is that the beauty of an artistic work has two scopes: Presential Scope and Epiphanic Scope. Regarding the presence, this beauty does not have something to do with words or meaning or a combination of them. However, this is related to the essence of that artistic work which is derived from the presential scope and joined to the truth of the beauty of the world of being, every artistic work is the emergence of that truth and simultaneously signifies the brilliance and coverage of that emergence. Now, artistic work is a pure indicator of that beauty. Therefore, this emergence of beauty can be named ‘goodness and virtue’.This goodness is achieved due to a combination of pure word and prodigious meaning. Furthermore, this combination is a mystery which can indulge the viewers of this work from living everyday life in their ‘worldly-nest’ and draw them close to the scope of the truth of beauty and truthful beauty. Then, he begins to criticize a piece of the romantic poem based on this two-scope beauty.We went through the Fotouhat book and scrutinized it, having this question in mind whether the relation between form and content or word and meaning and also the way they interact with each other, has been a matter of consideration for Ibn-Arabi or not. Additionally, assuming that it has been a matter of consideration for him and he has had a specific point of view, whether he has criticized a literary work based on his point of view or not? We came across some pages in this book intrusively, in which our two concerns have been addressed with a ‘yes’ answer. The gist of his elaborate answer to our first question is that the beauty of an artistic work has two scopes: Presential Scope and Epiphanic Scope. Regarding the presence, this beauty does not have something to do with words or meaning or a combination of them. However, this is related to the essence of that artistic work which is derived from the presential scope and joined to the truth of the beauty of the world of being, every artistic work is the emergence of that truth and simultaneously signifies the brilliance and coverage of that emergence. Now, artistic work is a pure indicator of that beauty. Therefore, this emergence of beauty can be named ‘goodness and virtue’.This goodness is achieved due to a combination of pure word and prodigious meaning. Furthermore, this combination is a mystery which can indulge the viewers of this work from living everyday life in their ‘worldly-nest’ and draw them close to the scope of the truth of beauty and truthful beauty. Then, he begins to criticize a piece of the romantic poem based on this two-scope beauty.