فصلنامه الهیات هنر
پیاپی 19 (بهار و تابستان 1400)

Focusing on Mulla Sadra’s psychology paves the way for understanding various issues in Islamic art. In this respect, one should perceive humans from the perspective of creation and restoration (The Arcs of Descent and Ascent). Therefore, the main two subjects in studying the philosophy of Islamic art are to discuss the creation and perception of a work of art (i.e. The Arcs of Descent and Ascent of a work of art). Employing a descriptive-analytical method, I aim to explore the first half of the ontological circle of a work of art (i.e. the creation of a work of art) in terms of “the theory of descent”. According to this theory, a work of art originates in the divine power and the existential basis of the artist. So, the process of creating a work of art begins from his/her imagination and ends in an object in the corporeal world. This process can be described from summary to detail and each lower level is the descended degree of the upper. In this respect, the process not only shows the weak or strong points of the power of comprehension of the artist but also indicates his/her divine power. Therefore, along with the necessary skills, an artist needs to train his/ her soul because the act of creation of a work of art is intrinsically dependent on the existential degree of the artist.

The Qajar period is conceived as one of the most distinguished political and artistic eras of Iran. Qajar art, in some aspects, is in adherence with Safavid art. However, Qajar art developed into distinct aesthetic characteristics that find expression in most of the common artworks of this period such as wall paintings. Two types of wall paintings were common during this period: First, official-court wall paintings depict the figures of kings, princes, servants, and royal events. Second, the ritual-religious wall paintings whose main subjects are the images of the Shia nobles especially the tragedy of Karbala. These types of wall paintings are called Ghahveh-Khaneh (literally Coffee House) school. In Qajar society, these types of paintings were considered artworks that were the manifestation of the people’s religious beliefs; on the other hand, it was the political reflection of the Shia attitude toward the authorities of that era. Assuming the political, historical, and social impressions of the Qajar era, this research aims to explore the importance and value of the Qajar wall paintings through the descriptive analytical method as well as clarify and describe its social and religious effects on public beliefs.

The Qur'an of Ibn al-Bawwāb is one of the finest illuminated manuscripts in existence preserved at the Chester Beatty Library in Dublin. It is transcribed by Ali ibn-Hilal, Abu'l-Hasan, the leading calligrapher and illuminator of the fifth century, known as Ibn al-Bawwāb. The copy contains the earliest examples of patterns of an illuminated Qur'an manuscript. Thus, the present paper aims to compare the Qur'an's 171 illuminated patterns with seven motifs of early Islamic monuments. Studying a descriptive-analytical method, we seek to address the raised question: What motifs of Islamic arts have mostly influenced the patterns in Ibn al-Bawwāb's Qur'an ?    Analyzing qualitative data entails reading a large number of transcripts and looking for similarities or differences, the authors conclude that since Ibn al-Bawwāb worked as a home decorator before beginning book illumination and calligraphy, his patterns in illumination are derived from his earlier architectural designs which were inspired by the decorative motifs of early Islamic architectures such as al-Abbasi alter in Baghdad, Raqqa, Samarra, Jāme' Mosque of Isfahān, the Jāmeh Mosque of Nā'īn, Noh Gonbad Mosque (Mosque of Nine Cupolas) in Balkh, and Seymareh. Therefore, the earliest Islamic illumination patterns are inspired by the architectural decorative motifs of the early Islamic centuries.

The ritual performance of Ta'ziyeh, on the one hand, has its roots in the event of Ashura and shows the various narrations of those events, and on the other hand, from the perspective of performance, originates from Iranian culture and drama. This glorious play, in the cultural contexts of the Qajar period, especially in the Nasserite period, succeeded in being the highest level of drama for the people, but after this period until today, its ritual and theatricality have gradually faded. In this regard, in the field of research and implementation, new steps must be taken to revive the capacities and spectacular aspects of ta'ziyeh. One of the new executive and ritual studies is Paul Woodruff's theory of "Presence Theater", which has a special place in fulfilling the purpose of watching and being spectacular. This article, based on the views of Paul Woodruff, descriptively-comparatively seeks to address the question of how the theater of presence in the play ta'ziyeh is manifested? The results of the research show that the ritual performance of ta'ziyeh in some performances is a presence theater that goes beyond the theater by combining the two arts of "watching" and "being watched" in a common action, a common experience and a common moment of transcendence. , Achieves.

Christianity did not only reflect in theological and philosophical issues but also its teachings find expression in art. This view, was first, developed in medieval Christianity by using icons, symbols, and signs as well as the advent of Carolingian and Romanesque art and the construction of basilicas and huge buildings such as Gothic cathedrals in the first half of the 12th century. Painting, sculpture, and architecture are the three main fundamentals, representing the above elements, which were used to build cathedrals. Gothic churches, as a divine art, are the most recognizable and magnificent architectural examples of the late middle ages encompassing various artworks and a center for the collection of all visual arts directly and literature and music indirectly. These buildings were a combination of spirituality and religious aesthetics of Christian teachings as a superior and transcendent matter and human attention to natural phenomena as an experimental approach. Thus, this article aims to address the question, how did aesthetic concepts and principles of medieval Christian teachings impress the formation of the structure and decorative patterns in the architecture of Gothic churches?

One of the pieces of equipment used for women’s role-playing in the performing arts is for their faces to be displayed with various makeup products/forms of makeup as required by the film script. Social, cultural, and ideological norms as internal deterrents and societal and governmental demands as external deterrents may force actors/artists to comply with certain requirements/requisites. One of these factors that may act as an internal deterrent for a Muslim actress and as an external deterrent for an Islamic government are the laws pertaining to hijab. Due to the existence of such factors, specifically about wearing wigs instead of headscarves or other Islamic head coverings/veils, the question arises as to what the Islamic ruling about covering a woman's natural hair using wigs is? In order to address this query with jurisprudential methods, this article investigates the possibility/hypothesis that if wigs are religiously an example of adornment or cause the displaying of the woman’s own natural hair due to being too similar to natural hair, they should not be used in the performing arts.

The jurisprudence of art is one of the new branches of Islamic jurisprudence. Although some of its issues have been discussed in related jurisprudence books, studying it as one of the issues of jurisprudence has been poorly known. Before dealing with the topic, it is necessary to discuss its philosophy. Thus, in this paper we seek to explore the three main subjects of the philosophy of jurisprudence of art; first, we study the essence of “the philosophy of jurisprudence of art”. Then we explain the important challenges of investigating jurisprudence of art such as unappropriated sectioning, not using experts in studying subjects and cases, and alacrity in expressing the jurisprudence of newly emerged issues. Finally, we discuss the method of solving problems in the jurisprudence of art namely the two-sided interpretation of the Quran and Hadith, extracting the basic title of the subject, and consequentialism or nominalism.

The “law of art” is the right to discipline and regulate the work of professional performers in conventional art forms such as theater. In this paper, I aim to explore the right of fame for filmmakers and actors in terms of the principles of a religious government and from the perspective of Islamic juridical-legal views. Focusing on the juridical-legal aspects of the fame of actors and actresses in a religious government, Regardless of the fame earned from public or private media, the questions raised what is the role of religious government in the “law of art”? And if the role is conceived, on what legal basis this role is defined? Basically, the relationship between the government and filmmakers is not limited to the right to fame. Reviewing the public-private rights in the law of art and media leads to investigating issues such as the legal ban of the filmmakers and actors or their spiritual and financial support. Taking into consideration the legal rules, liability, and the law of the artist, the present inquiry aims to discuss the basis and development of the law. In this regard, I presented a model based on a descriptive-analytical method of studying juridical literature. Studying the issue can pave the way to clarify the purpose of supporting the rights of filmmakers and actors, as well as the fame of the movies, society, and the government. Moreover, this study shows the legal aspects of the government's observation and legal conditions for the limitation of the filmmakers and actors in their movie contracts.

Performing arts include various types of production and have been growing in popularity among people, so they spend a considerable amount of their leisure time watching them. This type of art is produced to peruse a variety of aims and the majority of its target- audiences are teenagers and young children. The violence of drama productions can damage the innocent views of children and have serious negative consequences in their life. Therefore, religious teachings, which care for children's nobility and their spiritual and moral training, prohibit the production of offensive and violent programs. The important issue raised here is how to articulate the legal principles for such prohibition. Thus, in this paper, I aim to explore and analyze the issue in terms of jurisprudence. In this regard, I discuss the bad effects of offensive media on children as well as the principles and foundations of the prohibition of the production and airing of offensive programs according to Islamic fiqh. Finally, I criticize the national and international codes on the issue.

Reasoning (Ijtihad) in terms of semantics is a well-known method that Sheikh al-Ansari developed in his conceptualization of words, terms, and reasoning fiqhi rules. Knowing his method of reasoning as well as his intellectual basis and foundations can pave the way for understanding fiqhi issues. Through exploring the books of Sheikh al-Ansari, one can perceive his systematic method of reasoning in defining concepts, terms, and fiqhi subjects. In his tradition of reasoning, there is a step-by-step method for dealing with words, titles, and fiqhi terms. The method includes several stages: signifying the words, defining the terms, exploring the state of Islam, referring to common sense, and finally conceptual analyzing and understanding the meaning and examples of the subject. In this respect, by employing the principles of usul and fiqh, a jurist can analyze the meaning of the words and fiqhi subjects and present definitions of terms, which are sometimes different from the definitions reflected in the linguists' views, common sense, or texts. Employing a descriptive-analytical method and reasoning in semantics, I conclude that cinematic "image" is produced when light rays shine onto the movie screen. The rapid succession of still images creates a peculiar effect that causes a kind of illusion and audiences perceive motion. So, this is the audience's mind that infers motion from the changing pattern of light in the retinal image. Clarifying this issue can provide a clear picture for jurists to understand the fiqhi problems and decree fiqhi rules.

In Islam, legal payments refer to khums and zakat whose scope and sources are determined according to the state of Islam. Now, the question raised can khums and zakat be used for drama productions with the religious theme. The present study seeks to address the question in terms of fiqhi views and analytical- ijtihadi method. In zakat, the phrase fī sabīli llāhi (literally means "for the sake of Allah") is a general term that some jurists interpret in a way that zakat is dedicated to using for the benefit of the fighters in jihad or buying military equipment. Others, however, interpret the term broadly as a religious cause which can include Islamic missionary works as well as works in the service of Muslims. khums was always collected by Islam prophet and Imams directly, during the period of occultation, however, the share of the Present Imam must be used for the causes with which the most learned and trustworthy mujtahid would agree. If such a mujtahid agrees the legal payments can be used for media and drama productions. Perhaps, the mujtahid permits to use of khums and zakat for other priorities.

Undoubtedly, any work of art that wants to take the title of Islam must be compatible with the framework of jurisprudence and ethics, and it is necessary to respect the privacy and patterns of jurisprudence and ethics in it, but the question before us is to what extent should He remained faithful to these two theological concepts, and under what conditions, by not respecting the territory and limits of those two categories, a dramatic work loses its religious and Islamic ability, or in other words, its religious legitimacy in production, display and viewing. In a dramatic work, is the narrative and the story the main point of gravity, and should the story be based on religious and Islamic ideas, and if the story is against religious beliefs or morals, does the work lose its religious title? Or that the format and form of narration and story is emphasized, and beyond the story, attention should be paid to the aspects of the formation and appearance of dramatic works, in which case, jurisprudence and religious customs should be taken into account in its construction and production, and in the acting and presentation of the artwork. gave This article seeks to examine the position of each of those two previous concepts based on the presentation of two models and models in dramatic works and based on theorizing in this field, the amount of attention to jurisprudence in dramatic works in the format and form of illustration. first model) and pay attention to ethics and beliefs in the content of stories and narratives (second model) to explain and evaluate.