نشریه رهپویه حکمت هنر
سال دوم شماره 1 (پیاپی 2، بهار و تابستان 1402)

This article is a short and compact research about the order, appropriateness, and importance of orders, whether tectonic, organic, and mixed orders, in art and artistic creative actions and some aesthetic categories. The physical and natural world is full of all kinds of physical and natural orders. Our cognitive system is designed in such a way that it feels and perceives order and disorder well, but it is not satisfied with just watching the orders and appropriateness and harmonious and musical relationship between "objects" and between physical and natural phenomena. Our cognitive system learns from seeing and watching the faces, shapes, structures, harmonious and musical spaces, and the variety of tectonic, organic, and mixed orders and from well-shaped and beautiful, and decorated compositions between objects, as well as learns from the orders which are between physical and natural realities and so it goes beyond and enters another sphere of relationship with objects, realities, and phenomena of the world. Also, He takes help from his lived experiences and enters into an active, poetic (acting, creative and constructive) relationship with the world. With the help of his complex perceptual spheres, including sense, reason, knowledge, praxis, imaginative faculty, inspired by his lived experiences, inspired by the world and in the world, he started to create well-shaped, decorated, and harmonious faces and structures and spaces; and creates another world in the world; a rich world, and full of all kinds of symbols, metaphors, and living, artistic and aesthetic allegories. The place and importance of all kinds of orders are special in art and artistic creative actions as well as in aesthetic categories. Especially in the aesthetic categories of beautiful, the aesthetic category of sublime, and the aesthetic category of graceful, and elegance. Interestingly, Plato and Aristotle deeply understood the relevance and the fundamental relationship between order and beauty. They saw, understood, and defined beauty in order and size (megethos). Pythagorean philosophy was the root and foundation of the philosophy of harmonic, musical, mathematical and geometrical orders among the elements of the universe. They used the word "cosmos" to mean this. The connection between order and continuity of life is deep, root, and ontological one. Order is a necessity of life. It is not a coincidence that wherever and whenever we have seen order, we have felt peace, security and joy. In the past cultures and societies, order was not only morals and manners of living, but also the art of living and the beautiful, noble and dignified art of living. The role and contribution of orders in art and living artistically and creating meaningful and magnificent works of art was bold and decisive. There is a big gap between the art and artistry of past traditions and heritages and the art and artistry of people of our age.

This article aims at rethinking Plato's ambivalent attitude vis-à-vis the poets through the Parmenides. Is Plato unremittingly hostile aux poets? Does he obstinately banish them from his ideal city? In fact, Plato praises the poets, he blames them as well. So, his ambivalence over poetry needs to be explained. First, let's remind the fact that Plato's view on poetry, a fortiori the poets, remains unchanged from Ion, among first dialogues, until the Laws, the last one. All good poets, believes Plato, epic as well as lyric, compose their beautiful poems, being inspired and possessed by God. In other words, the poets are, so describes them Plato, light and winged and holy individuals, and there is no invention in them until they have been inspired and out of their senses. As long as they have not attained to this state, they are powerless, hence unable to utter any words. The Laws presents the same view: the poets speak the words of God and nature, for the poets are a divine race. So, by aid of Muses and Graces, they attain the truth (Laws: 682a). Now the question is: if the poets are a divine race, whence comes the ambivalence, characterizing Plato's attitude towards them? It seems to be inherent in poetry itself. That is why, Plato, criticizing Homer, distinguishes in his speech’s multiple levels of reality: admitting those he finds fitted to the education of young people and favorable to the law, omitting, but not rejecting, ambiguous or allegorical poems susceptible to lead astray the citizens, thereby causing damage to the city. That is why, the legislator is supposed not to allow the poets to say whatever they like. For this very reason that they would not know in which of their words, they go against the laws, to the hurt of the state (Laws: 719b). In fact, the poet is unable to distinguish what is appropriate to the city and what is not so. He simply utters what God inspires him, even if he contradicts himself. Hence, contrary to the legislator, the poet, like a fountain, allows to flow out freely whatever God inspires him. In other words, the poet narrates things as they are, drawing no distinction between good and bad. In fact, the poet is unable to distinguish what is appropriate to the city and what is not so.  For example, Zeus, according to Homer, is the author of all things that occur to men, good or evil: two casks lie at the threshold of Zeus, full of lots, one of good, the other of evil lots (Repubic:379c-d-Iliad: xxiv.527). Plato, in Republic, states the opposite of this belief and maintains that God is not omnipotent, but he is the cause of a few things only, and these things are all good, of the evils the causes are to be sought elsewhere. (Nevertheless, in book x, Plato states nearly the same opinion) But it is not the same for the legislator: he must not give two rules about the same thing (ibid.: 719b-c). Contrary to the poets, the legislator should make a clear distinction between good and bad, wrong and right or else he would be unable to enact laws. To put it otherwise, there is no city without law; while the poet, somehow, stands above law. Accordingly, he could neither be legislator, nor govern the city. Moreover, poets' obscure and allegorical speeches may mislead young people. These ambiguous or allegorical poems, being destined to be heard only by " a chosen few", id est the philosophers, or those who are supposed to govern the city, reappear, but in metaphysical terms, in Parmenides. In it, somehow, logos meeting muthos. But why Plato reveals these facts in Parmenides? This dialogue essentially describes dialectics, or the play of One and Many. In other words, the subject of Parmenides is Universe (to pan), as it contains all things, good and evil, sensible and intelligible spheres, and not only the sensible world as some commentators believe. For this very reason, Plato, here, has no concern regarding the constitution or the education of young people. So, he speaks freely about fundamental truths. In Parmenides, muthos appears to be on agreement with logos.

Hermeneutic theory and criticism are one of the important theories and criticisms of art and literature. The term hermeneutics or the science of interpretation and interpretation has entered the field of visual arts from the field of literature. The polysemous of this word indicates the types of uses that this word has been used for. Hermeneutics is defined as an attitude, knowledge, method and art that deals with the understanding of the world, human and text. Texts and works of art are open to interpretation, and the goal of interpreting and understanding works is to reach their true meaning. The science of hermeneutics was first used in the interpretation of the holy books and then entered the literary and artistic fields. From the point of view of this science, understanding and interpretation of phenomena are inseparable from each other, texts and works of art are opened in interpretations and their hidden aspects are revealed by interpretation. The purpose of interpretation is to understand the works and obtain its true meaning; Therefore, achieving meaning is associated with the process of understanding.As an interpretive creature, man also tries to communicate with phenomena by understanding and interpreting them. (These phenomena can be the holy texts of the books of the prophets or books of philosophers or works of art.) But in reality, what is the ultimate goal in interpretation and hermeneutics is to achieve the true meaning of the phenomena. Shapes, images, signs, social customs and in general any phenomenon that is made by nature or man are placed in the position of interpretation and understanding. For understanding the world made up of forms and colors that are constantly changing, transforming, giving birth, expanding and transforming, man gives meaning to them or he discovers their meaning. So, the act of interpretation is done with the significance of the phenomena. The meaning is hidden in the text and the work, and the interpreter is required to find the hidden meaning in the work. The works and texts guide the commentators to understand the interpretation methods.Therefore, the text and artwork have always been the subject of interpretation; And man as an interpreter is always interpreting the phenomena around him; But due to the existence of different understandings in a person, there have always been multiple interpretations of a work. Therefore, the important question raised here is what is the position of the text or the work of art or even the creator of the work in hermeneutic science? Are the interpretations as countless as the number of people, and it is the audience of the work of art that determines the meaning of the work? Or that the author or the artist is the main pillar in the interpretation and the interpretation is formed based on their thinking. Can the text or artwork determine which interpretation is valid and which is not? What is the validity of these valid and invalid interpretations? Is it possible to determine a certain basis for the interpretation of works of art by summarizing the opinions of different thinkers during different centuries and classifying them? Therefore, the purpose of compiling this research is a critical and analytical reflection on the opinions of hermeneutic thinkers and the bases of achieving the true meaning of the work.The purpose of this research is a critical and analytical reflection on the opinions of thinkers about hermeneutics, its role and place in the interpretation of phenomena and especially works of art. Therefore, firstly, the works and ideas of the first thinkers in the field of hermeneutics are investigated and a brief history of hermeneutics and its types are introduced. Then, by dividing hermeneutics into two historical periods, classic and modern, the theorists have been categorized. Hermeneutics has been examined in terms of the subject and its types, and by summarizing the opinions of theorists, an attempt has been made to reach a certain basis in hermeneutic criticism, so that with its help, a criticism appropriate to the work can be presented. After summarizing and classifying the opinions of thinkers and examining the science of hermeneutics in the world of art, it has been tried to present specific models of hermeneutics and its criticism in the field of visual arts. Research shows that hermeneutics, as a knowledge in obtaining the meaning of phenomena, always plays an important role in determining the meaning of works of art. But paying only to each aspect of the author, the audience and the text in hermeneutics reveals only a part of the meaning of the work; Therefore, despite the modern hermeneutics that determines the meaning only in the interpretation horizon of the interpreter, the text and the author also have a central role in determining the meaning of the work.

Many narrations indicate that morality and spirituality are current in the fields of Muslim life. Dressmaking is a traditional art-craft that is aligned with ethical principles. Clothing has two dimensions, appearance, and content: The change of its appearance dimension can be seen during time and space, and the content dimension of clothing is part of its unchanging identity, which in religious worldview is an expression of the essence and principle of truth. Attributing this matter to imams and performing the steps of this art by mentioning the verses of the Quran and resorting to remembrance, all express a transcendental view of it. The aim of this research is to understand the ethical elements of traditional dressing. Question: What are the most important ethical principles in creating the content of traditional Aryan clothing? Conclusion The covering system is a truth beyond the realm of matter. Referring to mystical sources can justify historical reflections on the meaning of traditional arts and the type of applied concepts in their structure based on transcendental matters. Dressmaking as an opportunity, in addition to professional skills, has moral elements that make this art-craft spiritual. Its most important moral elements are monotheism, based on the master-disciple system (qualification), and goodness of character. In this article, the content reading of ethical aspects of traditional clothing is done from the perspective of traditionalist philosophers (Cumaraswamy, Schoan, Burkhardt, and Nasr) and based on the text of Chitsazzan's Fotovvatnameh (as a historical-ethical guild text). The research method, the analysis of historical content, and the method of gathering information based on written documents are valid.   Dressing as a traditional art in the opinions of Muslim traditionalist thinkers has dimensions of monotheism, functionalism, and usefulness. The spiritual charter of industries and arts in Islamic civilization, in the form of Fatu-Tanamehs, as a moral text, is aligned with these thoughts. In the investigation, it was found that clothes have form and meaning. From the point of view of traditional arts, its meaning has a transcendental and non-material aspect and is aimed at bringing the audience to the principle of tariqat. In the religious worldview, the form of every work of art is an expression of its essence, and the individuality of the artist has no role in the work, and art is an expression of the origin and principle of truth, and what is in the highest order is represented in a material form. Spiritual beliefs about cloth and clothing among traditionalists and their connection with the higher and spiritual levels of Shiite thought are evident in Chitsazan's Fatutnameh. This issue exists in the view of traditionalists towards traditional clothing, that what comes from the patterning on the garment and the type of construction is all in line with reaching a lofty goal.

Isfahan in the Safavid era, especially during the reign of Shah Abbas I, is the center of the meeting of conflicting ideas. What has created such a free space for presenting different ideas is the cultural atmosphere and relative stability in the economy and politics prevalent in that period. During this period, the foundations of the philosophical school of Isfahan were established by Mirdamad (1040-969) in Isfahan, and later on, it was supported by Mulla Sadra and the transcendental wisdom. One of the fundamental effects of this school on the atmosphere of thought in this era is the changes presented in the definitions of the world of example. The world of example in this period is intermediate between the world of imagination and the world of the senses, of course with a tendency towards the world of the senses. The influence of this theory can be clearly seen in the painting works of the Isfahan school. The world depicted by Reza Abbasi Mabeh is the image of a world described in the Fasfi school of Isfahan. Accordingly, in the art school of Isfahan, we see paintings with fundamental changes compared to the previous periods. Using his personal style, Reza Abbasi made major changes in the painting of Isfahan school. What is very impressive in Reza Abbasi's works is his use of calligraphy with the same power and quality of coloring. One of the concepts presented in the philosophical field of Isfahan is the theory of substantial motion. This theory was proposed by Mulla Sadra using extensive sources and sources, and it is one of the most important theories that created a great revolution in the field of Islamic philosophy. Until Mullah Sadra, Iranian thinkers, following Aristotle's point of view, attributed any changes and transformations to symptoms and considered the essence as a fixed thing. Mulla Sadra proved by relying on the proofs that were taken from various intellectual, religious and mystical sources that the movement in the symptoms follows the movement that is created in the essence. One of the sources that Mulla Sadra used in presenting his theory is the theory of continuous creation, which was presented by mystics, especially Muhyiddin Ibn Arabi. The rule of substantial motion is the most important view of Mulla Sadra in the intellectual structure of transcendent wisdom. The aim of the present research is to analyze the works of Reza Abbasi from this point of view by reviewing the definitions related to the physical movement. Based on this and considering what was mentioned, we can ask: How can we imagine a relationship between the movement in Reza Abbasi's works with the existing definitions of physical movement? It is assumed that the artist has succeeded in inducing movement by using symbolic language, and through gentle movement of figures, curved lines, non-static design. In this regard, while examining the way of presenting movement, as a visual element, it has been presented mystical foundations in the works of Reza Abbasi. The results show that the artist depicts symbolic movement in two ways; First, by creating the figures and arranging the elements in the composition, it has created a gentle movement. It also depicts movement in detail, using the capabilities of the line and the direction of the look and pointing of the fingers. The approach of this article is descriptive-analytical. How to collect content is in the form of online libraries.

Muslim thinkers have always been trying to define and explain the nature of the perfect human being and his actions in the position of caliph and vicegerent of God on earth by relying on the powers of reason and by relying on the verses of the Holy Quran and traditions. and hadiths of the prophets and imams of purification. A perfect human being, the Caliph of God, has the attributes of the set of attributes that make the position of Caliphate, the Almighty God. By giving man the position of successor on the planet, God Almighty has deemed him worthy of attaining ranks and positions. Among these degrees granted by God Almighty, we can mention the status of innovation and creation. The position of innovation is a position that has helped man during his life on earth to fulfill his basic needs and with the help of this position, to make life on earth easier for himself. Because it is very difficult to reconcile the divine spirit and the earthly body on earth. The restless soul of the seeker in the soul and the earthly body needs tools and crafts to find the comfort of the body and the peace of the soul for life on earth. The most important effect of innovation in the production of innovative industries has been revealed. Industries that have helped man in the hot and cold bed of nature. Considering the design of multiple perspectives in explaining the concept of innovation and development of industries and innovation in artificial works, this research seeks to answer the question of how innovation can be compiled and explained in the creation of a perfect human being. From Islamic wisdom in this perspective, relying on the verses of the Holy Quran, hadiths and traditions from reliable sources and using the interpretations and views of Muslim sages based on Islamic wisdom, we first discuss the stages of human creation and matters of perfection. The creation of man is explained. Then, God Almighty explains the position of divine caliph of the perfect human being, and after that he considers the perfect human being, who is the caliph of God, worthy of attaining the position that God Almighty has delegated to him. His caliph continues, based on the verses of the Holy Quran and the traditions of divine saints, the place of innovation in God's actions has been analyzed and explained. Then the manifestation of the position of heresy delegated to the perfect man in the creation of artificial works is explained. Also, in this research, an attempt has been made to express the levels of innovation in the creation of the perfect human being. The order that begins with the dignity of the prophets and continues with the creation of divine saints and continues with the creation of industries by mystics. Investigating the roots of the formation of various industries throughout history is the most important concern of the researcher in writing this article. Things that were called industry in the past and in historical times and gradually with the rise of modernism and the industrialization of human production, were named as industrial arts or handicrafts. By naming these works in a non-binding form of art, their importance for modern man was reduced and they were introduced as low-value decorative works, the fashion of the modern world. In this article, it has been tried to place the roots of today's modern industries in the same previous traditional industries based on meeting the basic needs of humans, and based on this finding, try to value these industries again. It is also appropriate to consider the position of innovation, which has been the solution to human problems and dilemmas throughout the history of life on the planet, as a position worthy of a complete human being and center its development towards other human beings. According to Aref, this research is a type of basic study with a descriptive-analytical method, which was formed by referring to written sources and analyzing the content of verses, hadiths and Islamic wisdom. In this research, following the explanation of the place of innovation in the creation of the perfect human being, it comes to the conclusion that: the perfect human being is the first creation and with the best Paying attention to recognizing the basic needs and deficiencies of human life on the planet, as a mediator from the Almighty God, by inventing various industries, which today are called handicrafts and artificial arts, made human life easier on the planet. The secrets and techniques of these crafts and innovations, which were created by the perfect human being in the first step, have been entrusted to the qualified human beings, whom Ibn Arabi called mystics, through the teaching method of the master disciple from the perfect human being. Mystics and qualified people have expanded and developed the industries by using these techniques, until today, as the modern advanced industries are also the result of the development of the original innovative industries. This formation and development in industries continues as long as humans are present in the world.

Based on Ibn al-Haytham's theories, especially the recognition in the second part, third chapter in al-Manazir (book of optics), the visual signs/codes (al-amarat in Arabic) are the most effective visual elements through the perception process of seen images. Perception power of human beings compares the specific signs of the observed objects or scenes with the forms that have been seen and saved in the memory before and via this process it is able to recognize. While Ibn al-Haytham's idea published more than ten centuries before (1011-1021 AD), modern science verifies the role of the signs and recognition in the perception process. Therefore, several art theorists described the process of understanding the artistic works relied on these concepts. They explained that if a viewer's the mental visual codes math the visual forms/signs in an artwork, the viewer will be able to decipher the artwork and will understand it. In this article, I emphasize to both Islamic optics theories and the modern art theorists' interpretations, and demonstrate the role of the repeated patterns as the visual signs in Persian paintings. These patterns both caused to survive a collection of the standard forms and facilitated the viewers' perception process. These repeated patterns were produced in a three-step process: first, production/selection; second, consolidation; third, transfer and continuity. Due to the importance and necessity of repetition to do both process (i.e., the perception process and the three-step process), the illustrated Persian manuscript that used to be duplicated frequently played the important role. Nizami's Khamsah (means quintet or five treasures) was one of them. This book contains five poems in one of which is narrated the love story of Khosrow and Shirin. A part of this story in which was depicted bathing Shirin used to paint in the most illustrated Khamsah from 14th century. Since the narration emphasizes to Khosrow's surprise after looking at beautiful Shirin, the Persian artists used to present Khosrow whom put his index finger on his lips. This posture as a repeated pattern shows a Persian phrase that means being surprised. In this article, I traced the repeated pattern in 25 illustrated Khamsah manuscripts in which were painted bathing Shirin. These manuscripts are in the famous libraries and museums around the world, such as the British library, the national library of France, the Walters art museum, the metropolitan museum, Etc. Analyzing Khamsahs' illustrations provides that in the two pioneering illustrated Khamsahs (in 1365 and 1386-88 AD) the index-finger-on-the-lip pattern was painted to show being surprised in bathing Shirin scenes for the first time. Therefore, the dual relationship of the pattern/concept appeared in the ancient viewers' mind. Since 15th century, the pattern was frequently painted in the bathing Shirin to consolidate the pattern/concept. Since the mid of 15th century, in addition to repeat the pattern in bathing Shirin scenes, the index-finger-on-the-lip patterns were painted in the diverse scenes in other stories to transfer and spread. After this time, the index-finger-on-the-lip patterns used to show being surprised in whole scenes or stories. Achieving this article, Khamsah as a frequent and popular story was duplicated and illustrated repeatedly. Because of this, these manuscripts have the important roles in the three step production of the repeated patterns.

One of the brilliant periods of Iranian culture and art in the Islamic era is the Safavid rule. Social, political, cultural, and religious developments along with the expansion of relations with foreign countries lead to the formation of a new discourse in this period, the effects of which can be traced in the philosophy, culture, and art of this era. This article intends to answer the question by addressing the discursive features of the Safavid era, what were the effects of the spirit of the era on the art of painting and philosophical thoughts. And how is it possible to have a new reading of the painting based on that. Among the painting schools of the Safavid era, the Isfahan school has special characteristics in terms of form and content that separate it from the schools of the past periods; This transformation in the formal context is accompanied by a decrease in color and the strength of the line; In terms of content, the independence of the image from the text will lead to the prosperity of wall paintings and murals. Depicting the human role as a single character or lovers and lovers is popular. Artists such as Reza Abbasi, Mohammad Yusuf, and Mohammad Qasim are among the most famous painters of this era. Also, at the same time, Mulla Sadra forms the foundations of Sadra's thoughts and deals with the issue of love and its three levels. Although the concept of love has existed in the philosophical thoughts of the past, for the first time, Mulla Sadra has addressed the level of earthly love and love between a man and a woman for the first time and narrates its features and characteristics. This issue is important because, in Iranian-Islamic culture, such feelings are always denied, and due to their insignificance, it has not been important in the course of philosophical thinking. Although it cannot be claimed that the painters of the Isfahan school were influenced by Sadra’s ideas, the manifestation of the concept of love in the theoretical-philosophical foundations of this era and visual arts is quite evident, and this article seeks the reason for it in the ruling discourse of the era. Based on this, this research analyzes the three levels of love in Sadra'i's thought in an analytical-fundamental way and using written sources, and then identifies the visual elements in the three selected images that show true love, human love, and animal love. According to Aghia Mulla Sadra, the levels of love have three stages: animal love, which is the lowest level of love, and its source is physical lust and the desire for animal pleasure, and it is more about the lover's admiration for the appearance of the beloved, the color and shape of his parts because these are physical and earthly affairs. are. The level of virtual love of the ego that belongs to the ego and in which the ego is in essence in love with the beloved. That is when the lover sees knowledge, perfection, piety, and courage in the beloved, and his soul demands knowledge, perfection, piety, and courage; So he loves a person who has these qualities. As a result, this type of arrangement does not involve sex and physical affairs. True love, is the highest order of love and divine love. A lover is a perfect human being, and a lover is a supreme essence with all its beautiful and glorious names and attributes. Therefore, in this order, there is no physical attribute for the beloved or an emotional one. Everything is the essence, and for this reason, the connection and unification of the lover and the beloved are possible at this time, because the other is removed from the midst, and man returns to his essence, which is divine and the same as the spirit of God. The results of the research indicate that the three levels of love in Sadra's philosophy in the paintings of the Isfahan school have found a visual dimension and independence from the literary and mystical text in cases such as the portrait of Shah Abbas with one of the women, the artist portrays the concept of love regardless of mystical approaches and in the order of animal love, thus minimizing the metaphorical and figurative approaches as one of the ancient principles of art and presenting an image of the king's daily and personal life. However, there are still elements in the images that confirm the divine view of Eastern thought; The existence of an azure sky without stars is a symbol of the heavens. The complementary color in the clothes of the lover and the beloved is an allegory of their inherent unity in the world of example. The existence of a young tree is an allegory of a seeker who travels the distance between the earth and the sky, and even though he is rooted in the soil, he always tries to move towards the divine light and bring himself closer to the essence of truth.

The story of Gol and Bulbul is a romantic story that was noticed by mystics and writers in the Middle Ages of Iran. For the first time, Attar has given an independent story about the love of a nightingale to a flower in Manteqh-o-alteir, and in the continuation of this story, its Sufi aspects are discussed in Bulbul Nameh and Nozhat al-Ahbab. In the analysis of the stories that are written in the language of al-Riyahin and Murghan, the Arabic version of Kashf al-Asrar fi Hokm al-Tayyur va al-Asrar and Ramz al-Riyahin have described the development of beauty in a similar format, but in Bulbulnamehs and especially Gol and Bulbul's Masnavi of Sheikh Abu Ali Qalandar mentioned its Sufi aspect. The stories of the flower and the nightingale were romantic narratives that became the basis of Sufi views, and it was not without reason that the basis of all these mystical texts originated from the Manteqh-o-alteir.The nightingale was a searching bird that was considered to be the home of the soul of a lover, who in an attempt to reach a worldly lover has exposed himself to thorns and fire, and is condemned by other pilgrims of truth in order to go to true love. This research, by examining the sentences of poems that deal with the flower and the nightingale, seeks to answer the question, what is the place of the flower and the nightingale in the mystical literature of Iran in the Islamic period, and how can the characteristic of the searcher be explained? This research, by referring to first-hand literary sources, recognizes the place of nightingale and explores the reason for its widespread use. The research method is descriptive-analytical and the library method was used in collecting sources. The findings show that the Meraj journey of the Prophet became the subject of mystical stories, a spiritual journey that was interpreted by the mystics as a journey through the mortal world and a step in the valley of love and its stages. The sages wrote treatises on this subject to be the basis of Manteqh-o-alteir, the best of which, according to Attar's narration, was written down. Although Ibn Sina's and Ghazali's Risalah al-Tayir and Sana'i and Khaqani's Risaleh al-Tayir were written before Attar, his work was a common chapter of all four works. The only commonality of all the schools was the belief in unity, which is the basis of Tariqat and Sufism, and the schools that were derived from them, and it is well evident in the words of Attar. In Manteqh-o-alteir Sanai and Khaghan regions, the number of Murghan does not reach thousands and there are only a few. And not all types, but those whose place is in the garden, rag and grass, and who love and admire the beauty of greenery, grass, and rhizomes. Their problem is not related to themselves. Rather, they want to choose the most beautiful among all those flowers, each of which shows off and emits fragrance in a way. This feature is also understood and deduced in Rams al-Rayahin and Kashf al-Asrar fi Hokm al-Tayyur and Al-Azhar Ibn Ghanem. In Manteqh-o-alteir of Attar, Marghan like a seeker, a soul in love walks in a difficult valley. The story of the nightingale and her love for the red flower, which is a symbol of worldly love, is the beginning of a love story in Manteqh-o-alteir, which she expands and expands on in the Bulbul Name and Nezhat al-Ahbab, and becomes the foundation of several centuries of Sufi love stories among mystics after her. A flower in Attar's eyes is pink, mortal, and has attributes such as beautiful, short-lived, falling under the feet, sitting with thorns, and in the fire of rose-water, which were mentioned before by poets; But atar's nightingale is sometimes the language and mood of atar himself. But the most obvious feature is the seeking Murqh and the spirit of love. Among other mystics, this attribute is imagined, the nightingale is sometimes a thousand-story teller who speaks the truth, al-Hamdukhan, Abjadkhan and Zandavaf. The nightingale, which is a symbol of attachment to earthly love, according to mystics, must be the soul of a lover who breaks the cage of his life and frees himself from these attachments in order to reach true love. This mystical aspect of his representation in the painting of Gol-o- Murqh is a sleeping Murqh that is observing.

Visual documents are significant as first-hand illustrated sources in any period and express thought patterns and thought in different periods. From this point of view, the remaining wall paintings from the Zendiyeh era in the Hafttanan building of Shiraz are important and show special information about the common literary and mystical themes and foundations of the mentioned period. This research tries to read two pictures, one of the artworks in Hafttanan's Building, from the perspective of mystical cryptology. It seems that the two pictures of the mentioned mansion refer to the houses of the seven stages. Dervish tools, accessories and clothes in the pictures help guide the research. This article explores the mystical themes of young and old two picture Dervishes, which are also attributed to Saadi and Hafez or Saadi and Shah Abbas in some texts, in the context of reflection theory. The aim of this research will be an approach to the image system of two images of old and young dervish in relation to the authorities of mystical behavior. It seems that signs and symbols in the form of Sufis' customs and instruments can be seen in the paintings, which are related to their position in the path of their conduct. How are the bag, hand stick or mantasha, kashkul and tabarzin, many Turkish hats and special robes effective in explaining their position in the way of conduct? The explanation of the position of Kashkul and Tabarzin, Mantasha and Pashak have a significant relationship with their position in the path of the Seluk. Dongareh, one of the wall paintings of the Hafttanan monument in Shiraz, from the works of the Zendiyeh period, are the study examples of the present research. The research is descriptive and analytical from the point of view of its nature and method, and considering the purpose of the research, it belongs to the category of theoretical research. The collected information is the result of library studies and recording field observations, and the theoretical framework is inspired by Victoria Alexander's reflection theory. The result of the article reflects the stages of seeking, knowledge, poverty and annihilation in the researched paintings. Mentsha, Chante, Kashkul and Tabarzin are important signs in conveying meaning. In other words, the mentioned objects and tools indicate the belonging of the seekers to the way of walking. Many similarities between signs and symbols can be seen in each two pictures, with the difference that Mantsha, horn and ring are not seen in the image of the elderly dervish, and they are not present in the image of the young dervish of Tabarzin. The presence of old and young dervishes, as well as their specific building and mansion (the Hafttanan mansion), as well as the travelogues, narratives and stories in popular culture, are proof of the improvement of the status of this class in the twelfth century of Lunar Hijri. In this article, their clothes, tools and equipment were studied. Some signs point to the position of two dervishes, old and young, on the path of pilgrimage. They are symbols of their poverty, contentment and remembrance. Even in the image of a young dervish, the use of a ring in the ear refers to belonging to a Heydari dervish. Many Turkish hats, sticks or canes, kashkul and ax, wind instrument and ring (earring) are the most important symbols known in every picture, which express deep concepts of the situation of dervishes in the Zandiya era. Artworks are superstructures that provide detailed information about the society's infrastructure to the audience and researchers.

Throughout its history, modern Iranian art saw the rise of several movements that, influenced as much by modernist ideas as values of the past, aspired to develop a “national art.” At the core of these movements was a neo-traditionalist approach that presented a contemporary take on the hallmarks of Iranian traditional arts while emphasising a native character, an approach that paved the way for the Saqqakhaneh movement of the 1960s.Aiming to understand Saqqakhaneh artworks better, this paper explores what neo-traditionalism meant in that movement. The article’s main question is: “What visual elements connect Saqqakhaneh paintings to neo-traditionalism and how?” Conducted as qualitative and descriptive-analytical research, the study looked at paintings by Sadegh Tabrizi, Hossein Zenderoudi, Faramarz Pilaram, Mansoor Ghandriz, Nasser Ovissi, and Massoud Arabshahi, selected through stratified random sampling.The analysis found that the artists crafted a novel artistic language upon their contemporary interpretations of traditional culture, forging a structural interaction between modern art and Iranian decorative art: Hossein Zenderoudi embodied neo-traditionalism in his works by showcasing the visual potentials of Persian calligraphy, as well as by taking familiar Saqqakhaneh motifs and arranging them regardless of their naturalistic qualities and their meanings. Similarly, neo-traditionalism manifests itself in the works of Faramarz Pilaram through the artist’s novel approach to calligraphy. Pilaram treated the Shekasteh-Nastaliq script as raw artistic material, harmonising calligraphic strokes into figurative art. Another neo-traditionalist feature of his works is the use of the colour gold, which hallmarks his style. Mansoor Ghandriz developed a style of abstract iconography that drew on folk symbolism, creating a medium for neo-traditionalism. Inspired by modernist ideas, he also experimented with an intuitive approach to art. His work reflects an effort to reconcile the aesthetics of abstract painting with Persian artistic traditions. Nasser Ovissi expressed his neo-traditionalist approach by bringing mythical symbolism and lyrical themes into a modernist setting and also by incorporating the aesthetics of different Persian miniature painting styles into a cohesive whole. Sadegh Tabrizi built his style upon a personal interpretation of the aesthetics of Persian miniature. Lastly, Massoud Arabshahi represented neo-traditionalism in a modernist form that he developed by revisiting the ancient world through Eastern eyes.Neo-traditionalism was thus realised in the art of Saqqakhaneh painters, who revealed in their unique works the visual potentials found throughout the history of Persian art. To answer the research question, which concerns how neo-traditionalism is represented in Saqqakhaneh paintings, the paper analyses twelve paintings from the movement and shows that certain elements from Iranian visual culture—including Siyah mashq (calligraphic practice sheets), imagery from Iranian folk literature, Islamic imagery, and aesthetic characteristics of Persian miniature traditions—are rendered in a modern artistic language. Relying on their distinct interpretations of cultural imagery, Saqqakhaneh artists pioneered a particular form of Iranian modernism using a traditional visual vocabulary.Conceptually overlapping with postmodernism, neo-traditionalism reveals a tendency towards postmodern art and, in general, qualifies stylistically and content-wise as a pluralist approach. On a deeper level, however, attention to a native and national identity is the defining feature of neo-traditionalism, which aims to tailor tradition to the tastes of the contemporary viewer by blending familiar traditional imagery with modern styles of representation.

Ibn Al-Haytham can be considered as one of the most important thinkers who, when faced with the concept of beauty, tried to explain it based on objective and subjective principles and characteristics based on scientific methodology. He distinguished between the two aspects of visual perception and visual feeling and considered visual perception as the result of visual feeling and called them under the title of minor meanings, which from his point of view are twenty-two numbers in total. Considering the structural nature of photography, whose formal aesthetics is based on the principles that are completely consistent with the issues raised in Ibn Al-Haytham's opinions, the adaptation of these theoretical issues and how to apply them in the art of photography can, in addition to emphasizing the importance of Ibn Al-Haytham's artistic opinions brings the structural aesthetics of photography from a different perspective. The purpose of this article is to compare the details of Ibn Al-Haytham's twenty-two works with the essential features of photography from the perspective of aesthetics, and to answer the question of how the theory of light aesthetics from Ibn Al-Haytham's point of view can be reconciled with the modern principles of modern photography aesthetics. First explains the nature of photography and then discusses its compatibility with Ibn Al-Haytham's opinions. This article, which uses a comparative approach, is fundamental-theoretical in terms of its purpose and descriptive-analytical in terms of its method. Also, information has been collected from various library sources and websites and finally analyzed with a qualitative approach. Accordingly, by describing the twenty-two cases of Ibn Al-Haytham's aesthetics and describing and analyzing the aesthetics of photography from the perspective of visual structure, how to reconcile them was discussed, and the results of the research show the full compatibility and effectiveness of Ibn Al-Haytham's opinions in the field of modern photography aesthetics.Ibn Al-Haytham can be considered as one of the most important thinkers who, when faced with the concept of beauty, tried to explain it based on objective and subjective principles and characteristics based on scientific methodology. He distinguished between the two aspects of visual perception and visual feeling and considered visual perception as the result of visual feeling and called them under the title of minor meanings, which from his point of view are twenty-two numbers in total. Considering the structural nature of photography, whose formal aesthetics is based on the principles that are completely consistent with the issues raised in Ibn Al-Haytham's opinions, the adaptation of these theoretical issues and how to apply them in the art of photography can, in addition to emphasizing the importance of Ibn Al-Haytham's artistic opinions brings the structural aesthetics of photography from a different perspective. The purpose of this article is to compare the details of Ibn Al-Haytham's twenty-two works with the essential features of photography from the perspective of aesthetics, and to answer the question of how the theory of light aesthetics from Ibn Al-Haytham's point of view can be reconciled with the modern principles of modern photography aesthetics. First explains the nature of photography and then discusses its compatibility with Ibn Al-Haytham's opinions. This article, which uses a comparative approach, is fundamental-theoretical in terms of its purpose and descriptive-analytical in terms of its method. Also, information has been collected from various library sources and websites and finally analyzed with a qualitative approach. Accordingly, by describing the twenty-two cases of Ibn Al-Haytham's aesthetics and describing and analyzing the aesthetics of photography from the perspective of visual structure, how to reconcile them was discussed, and the results of the research show the full compatibility and effectiveness of Ibn Al-Haytham's opinions in the field of modern photography aesthetics.