نشریه مطالعات هنر و رسانه
پیاپی 2 (پاییز و زمستان 1398)

This article addresses the Theory of Constructional Perceptions of ‘Allāmah Ṭabaṭabāī, by seeking its aesthetic bases and presuppositions. The conclusion is explained as follows: in the path of man's active action in the world, his recognition mechanism and faculties of performing action find the laws existent in nature by giving order to nature and regulates its actions according to this. The possibility of the attribution of limitations of things to one another which is achieved through use of metaphors and similes, presents man with assumed, probable and anticipative destinations which are the product of the activity of the power of imagination, and by placing him in the two positions of a moral agent and a creator of beauty, invites him to make decisions, perform actions and judgment; all this results in the process of man's existential guidance; and it is obvious that the common term 'natural law' is a synonym for this type of guidance. Therefore, according to the Theory of Constructional Perceptions, in being or natural law is the common article between the two domains of ethics and beauty.

Farabi in the context of Islamic philosophy and Aquinas in the context of Christian philosophy both use the concept of "perfection" in the definition of "beauty". This research, using by the library collection, and qualitative analysis method, examines the beauty definitions and the concept of perfection in them. The results of this study shows that the two philosophers are similar in their definition of beauty and its grades. Farabi is more concerned with the concept of "perfection" in the definition of beauty, and instead Aquinas refers to "placent", "fit" and "Clarity" which is not explicitly mentioned in Farabi's definitions. Another important issue is linking beauty with holy trinity by Aquinas, which Farabi does not use in Islamic concepts. Also, while there are references to subjective beauty in Aquinas' philosophy, as a conclusion, we can say that beauty in the view of both philosophers is objective.

The focus of this article is to search the jurisprudence role in field of artistic legislation; of course with considering art and its examples in government sphere. Solving the above problem is with ignored from attention of the jurists into considering art and its examples, as it should be exist currently in the individual and social arena. The researcher explains by defining of qualitative indicators, the role "available jurisprudence" in legislative process. Accordingly he tries to offer a clear picture of "jurisprudence role model" in field of "artistic legislation" with descriptive-analytic method. The final answer is completely new. The result is obtained by relying on qualitative indicators in understanding the relationship between "jurisprudence" and "artistic law". The answer to this question is important; because it gives a good understanding of the current situation and accordingly helps to future studies in art jurisprudence specially pathology of the "jurisprudence role" in artistic legislation.

The Quran is a book of knowledge and guidance in which stories told to achieve the purpose. The stories can be considered from the aspects of validity. Narrative or science of action is a branch of science that studies narrative techniques and structures that are embodied in the literature, too. This science examines the internal techniques of a relationships itself narrated from a story. Jaap Lintvelt is a narrative that bases its definition on a actors on the one hand and the narrator and audience on the other hand, too. Jaap Lintvelt focused on the dual interaction between the level of narrative practices point to the time of and place of the actors. He believes that narrator and audience are in space and time here and now and are in connection with each other. The narrator, with a time and space cut, convert the connection to the detachment and narrates the event that happened one day in the past. This separation between the narrator and the audience, on the one hand and the actors, on the other hand, determines the narrative definition in his view. Jaap Lintvelt has provided a model of his narrative and typology positions based on these levels, that Quranic stories can be analyzed from this prespective. In this research two stories from the prophets (The prophet Noah and The prophet Saleh) and two stories from the stories of non-prophetes (Companions of Elephants and Companions of Cave) are selected az examples. The research method in this article is narrative analysis. After studying these four Quranic stories for Noah, Saleh, Companion of Elephant and Companion of the Cave, It could be said that there is a homogeneous world in all these four stories. The narrative typology in these stories is text oriented in which the story is full of perspective and the directions of the narrator is expressed to the audiences. The narrator-actant (God) tries to use the words for the audience p (The Prophet Mohammad). The narrator tries to believe that in the shado of the help of the God, the truth will be overcome by falsehood.  These stories are true and has historical fact.

Nowadays video games like other forms of arts, are capable to provide content which is derived from adopted beliefs by video games’ designers to improve religious attitudes, increased religious information and even create a spiritual experience for users of this emerging art. This possibility, with a special focus on the unique characteristics of computer games and using features that have been clarified in religious art, can eventually lead to the creation of religious video game. Therefore, the question this article attempts to answer is how to provide a religious video game; but before the examination and the answer to the question, the more fundamental question must inevitably be considered and it is this issue that makes it possible to have a religious video game. So in order to check the possibility and how to provide a religious video game, this article tries to provide an explanation of the video game and religious art with descriptive-analytical method. The main achievement of this research is to explain how appropriate communication between meaning making form of video games with content derived from religious teachings in order to provide a religious video game.

The depletion of the Islamic architectural structure of meaning will lead to the destruction of the nature of Islamic architecture. The space that this architecture is designed, in addition to using the elements and materials at its best, from all that is capable of conforming to the Islamic semantics and deep meaning, it uses some elements that carry the mystical concepts in the architectural arena. Water and mirror have a long history with Islamic architecture. Is it possible to indicate the water and the mirror in terms of the presence of Islamic architecture and the spaces used? Water as the noblest blessing the God has given to human beings, in addition to the cooling effect and the freshness of the Islamic architecture space, get the litter of deep mystical meanings and take the same share with the mirror in the reflection of patterns and images. The mirror is like water is used inside construction only for reflect images and patterns. The concept of mirror in Islamic mysticism has been raised very extensive and method of using that in Islamic architecture and the meanings that this kind of function takes is very deep and contemplative. In this investigation we trying to pose and explained the wisdom of usage water and mirror in architecture.