فصلنامه الهیات هنر
پیاپی 16 (پاییز و زمستان 1398)

Using an analytical reading approach, this study examines the historical texts composed by Christian writers from the first century to the third century AH (the seventh century to nine century AD) in which there are some explanations about Muslims’ attitudes toward image. The purpose of this inquiry is to explain their opinion (positive or negative) during this period and to conceive the reason. To achieve this, regarding the historical importance of these documents and their rarity, and also lack of such a research about this subject, the first-hand texts, including histography or the treatises of Christian clergies, the corresponding between Leo III and Omar II, and also the Iconoclastic Edict of the Caliph Yazid II, were studied with a historical – analytical approach. As a result, it could be said that the image is a secondary subject in these texts and Christians discuss this issue to defend the status and value of the image.

The American philosopher Albert Burgmann considers the task of philosophy to be to answer how to live better in contemporary technological culture while technology has transformed all of a person's cultural and social relationships with other human beings and the world around them, so organized a new arrangement called the "device paradigm." Philosophy must be able to provide a way to give meaning to life again. Borgmann's strategy for improving the quality of life in such a situation is to turn to religion, art, and other activities that return the sacred to matter and they are resistant to commodification. These activities are called focal Practices. The present article explains Burgmann's philosophical view of the cultural conditions of contemporary life, He examines the place of art in man's attainment to a better life in his mind Finally, it answers the question of whether Islamic calligraphy can be effective as a focal point in improving the quality of life of contemporary man. Calligraphy features show that this art can be effective as a focal point in human life in the age of technology. The research method in this study is a comparative study.

Media and film inMedia postmodernist approaches, remove the components of reality as it pleases, and suspend legitimacy. According to Baudrillard's philosophy, any discussion in the transcendent sense of film and the media, which is the result of consumerist and ever-changing culture, is assumed to be incommensurable and knowledge is brought down to a degree that has no source of effect and reality and Imagination is merely used to reflect perceptions through the senses.In this research, through the descriptive and analytical method by rethinking and analyzing virtual reality based on the principles mentioned in Ibn Arabi's field of permissible formation on the basis of religious paradigm, he theories of film and media. Has beenaddresses the deficiencies in well-known postmodern The research findings show that it is possible to define,Made and extend virtual reality in film and media to fit the religious paradigm from Ibn Arabi's perspective.Its a lolbubiiceKeywords (English):, VirtualReality, Imagination,Baudrillard's Theory,the movie,Media

 Music in the Orient, including in Iran, has always had a ritual nature, for the sake of God's glory and in the service of the spiritual perfection of man. The main issue of this research is the Iranian music at what levels and in the form and themes and how it is with the mysticism and instrument for the perfection of mankind. Which has been dealt with analytically. It seems that various kinds of music, ranging from the Zoroastrianism to the music of the Khanqahi and Sima Dervishes, to the Qur'anic verses, and Venizets in various religious themes, including the various Ta'azi of the various Azan and the masters, which are in the great part of the music of different regions of Iran, The spirit of knowledge and mystery. As with instruments and songs based on musical systems called Rowdy, many of the characteristics of this music, such as balance, softness and laziness, are present ... which are intrinsic to poetry, have a close connection with mysticism and states and Spiritual themes .

Contemporary semiotic knowledge seeks to study the signs and languages of communication, both verbal and verbal. Visual forces in visual arts are an example of communication languages that are capable of transmitting information that is sometimes out of the question. Certainly, the Holy Qur'an, as the highest written miracle, has, in addition to its linguistic codes, also used some of its visual arts to transmit divine message. Accordingly, the present research tries to examine it as a sign of communication using the descriptive-analytical method and the methodology of semiotics while revising the story of Adam in two surah Baqara and Taha's visual forces and linguistic codes. And to show the role of the stories of the Qur'an as a subjective universe in how to create a visual narrative of a verbal narrative. The study of Quranic data shows that The companions of visual arts can draw from the story of Adam various visual forces such as contrast, evolutionary repetition, angle of view, Kadrage, etc. as non-verbal signs, As well as focusing on the meaningful use of lexicals such as "Hobut= Down", "Naba= News", definitions, etc. as words containing visual forces, ultimately create a dramatic visual narrative from a pure verbal narrative as a raw material of visual arts.

Quranic scholars have always sought to explain the aesthetic aspects of the Holy Qur'an verses in the post-Qur' centuries. One of the aesthetic tools in the Qur'an is the metaphor that a domain of extensive reviews about that can be found in the field of rhetoric science. The focus of these studies has been on the literal aspects of metaphors. With the advent of cognitive science and the theory of conceptual metaphors, extensive studies have begun to distinguish these metaphors from traditional metaphors and cognitive scholars have revised various texts in the light of this theory.In this research which the data collection is library-based and has been done by a descriptive-analytical method with qualitative analysis, we try to show that the conceptual metaphors of the Holy Qur'an also have aesthetic value, assuming that the verses of the Qur'an contain conceptual metaphors. Thus, in addition to the Qur'an, its conceptual spaces, which are based on metaphors, can also be considered beautiful. Finally, we present the depiction of the verses of the Holy Quran as an explanation for the adaptation of this feature to the conceptual spaces of the Holy Quran.