نشریه بنیان های حکمی - فلسفی هنر ایرانی
سال دوم شماره 1 (پیاپی 3، بهار 1402)

In the view of spiritual seekers, sincerity is the manifestation of divine interaction, signifying that no action should be undertaken except for the sake of God, and all deeds and words of the servant should be exclusively dedicated to God. Furthermore, sincerity bears the fundamental and foundational role in the individual and societal evolution of humanity, and the perfection, imperfection, health, and corruption of all stages and levels of this journey are influenced by this valuable virtue. This article seeks to address the question of the similarities and differences between two significant mystical texts, namely the elucidation of "Taa'rrof" and Qoshareh's treatise on the artistic function of the concept of sincerity, which is discussed in six sections: the analysis of definitions, the reflection of the Quran and Hadith on the subject of sincerity, the study of the meanings of sincere and sincerity, the levels of sincerity, the disadvantages and results of sincerity, and the relationship of sincerity with other mystical authorities. What is the nature of this relationship? Furthermore, the achievements of this research are to elucidate the extent of the artistic impact and convergence of Qoshareh's treatise with the elucidation of "Taa'rrof," which has been presented through the tangible influence or the interpretation and content extraction of various statements.

The formation principles of buildings in Iranian-Islamic architecture and their alignment with the climate have resulted in a sustainable architectural form. In this context, the emphasis has been particularly placed on the climatic characteristics in the facades of buildings as a crucial link between the external and internal environments and as the most vital component of a building in facing climatic conditions. Effectively utilizing climatic patterns enhances energy efficiency, daylight utilization, visual comfort, and more within the building structure. Hence, this research aims to identify various climatic patterns used in the facades of Iranian-Islamic houses and reviews relevant studies in this field to explore their reinterpretation in contemporary architecture. To achieve this goal, a descriptive-analytical approach was adopted to grasp the essence of the issue, supplemented by a literature review to underscore the significance of these patterns with climatic functions in building facades. The parameters studied encompass Iranian-Islamic patterns that incorporate climatic functions in house facades. The obtained results affirm the feasibility of updating these patterns to create climate-responsive facades using modern technologies, thereby assisting existing studies in determining the optimal approaches for facade optimization.

According to Islamic mystical reflections, the beauty of God is considered the foundation of the universe's creation, resulting in an inseparable link between beauty and creation. The present study aims to analyze human artistic endeavors in light of the divine creation concept, drawing from the mystical belief that 'humans are an image of Him.' This study seeks to introduce an appropriate approach to manifesting beauty in artwork and exploring the role of the artist in this context. Employing a descriptive, analytical, and interpretative methodology, we draw from Qur'anic teachings, Islamic mysticism, and theosophy sources to investigate the various levels of God's creation and the relationship between creation and the act of speech in the universe, humans, and the Qur'an (as His perfect manifestations). Furthermore, we consider the human existential faculties to analyze and explain the quality of beauty manifestation in artwork. To illustrate this, we study Isfahan's Hasht Behesht garden from this perspective. Through this study, we establish that the artistic act of humans, at the level of the heart (intellect), is connected to the beauty of the word-like and esoteric essence of the work. At the level of sensation, it corresponds to the beauty of the book-like and the exoteric form. Therefore, the stronger the relationship between these two facets, brought forth by the power of the artist's imagination, the more beauty emerges in the aforementioned work. However, lasting beauty consistently originates from the word-like aspect of the artwork, which is in relation to God, representing the beauty of God.

The lack of systematic reading of architectural works in society has led to a failure in improving design quality, as exemplified by the use of the term "bazaar" in ancient texts. This research investigates the relationships and influence of the word "bazaar" on shaping the overall meaning of architectural works from the 3rd to the 8th Hijri centuries. The structure of perception and cognition is closely intertwined. Certain words and terms employed by people are now rarely used and are sometimes unfamiliar. The Persian language tends to emphasize quantitative aspects rather than qualitative ones. Delving into the concept of the bazaar in textual sources not only addresses the qualitative dimensions of our cultural heritage but also acquaints us with the wisdom, experiences, and viewpoints of our predecessors, paving the way for novel conceptualizations grounded in their achievements. To comprehend the concept of the bazaar in Persian poetry, this study adopts a qualitative research methodology employing a case study with a summarization approach. Poets who have significantly contributed to shaping the Persian language have been selected. Through the retention of meanings employed within the research timeframe and the identification of the word "bazaar" and its various combinations, the concept has been delineated and categorized. A review of the literature underscores that knowledge of the bazaar and its cultural impacts has transcended geographical and temporal boundaries. A meaningful correlation exists between concepts and spatial arrangements. The term "bazaar" stands as one of the most frequently used words in poetry, taking on diverse meanings while maintaining a consistent appearance. It serves both descriptive and narrative roles, simultaneously embodying moral attributes and providing a gateway to comprehending its semantic essence.

Iranian wisdom has always shone brightly in the intellectual realm of the thinkers and philosophers of this land. As history attests, Iran has been the wellspring of magnificent architectural marvels and ingenious responses to climatic, cultural, and environmental challenges. However, we find ourselves at a juncture where the architecture in this region no longer aligns with the foresight, stability, beauty, and respect for people that Persian architects have traditionally upheld. In this context, we present a qualitative research approach coupled with an analytical-historical interpretation method. Our goal is to construct a conceptual framework that delves into specialized aspects of this field, aiming to revive Persian native cultures and sciences. Fundamentally, we seek to reexamine the insights of Persian sages regarding the power of imagination in achieving artistic creativity, a form of pure imagination closely intertwined with architecture. The research findings demonstrate that art is profoundly linked to both independent and interconnected imaginations. Devoid of either, the wisdom within art loses its essence, rendering it meaningless. The elevation and potency of imaginative perception empower artists to consistently draw inspiration from the World of Forms and convey it through the language of art and wisdom. The journey of crafting an architectural masterpiece, in itself one of Latifa's Sana’at, a form of art, and an integral facet of human existence, is inexorably entwined with this path.

Garden carpets are a type of rug that gained popularity during the late Safavid period. One prominent example of this type is a carpet housed in the Astan Quds Museum. One notable feature of this carpet, which serves the function of Sajdah, is the inclusion of 'Sajdah' written on the front of the altar. The motifs employed in these carpets, in addition to the mihrab and a zikr on the front of the mihrab, include flying birds and thirteen fish inside the mihrab. Given that animal designs are less common in prayer mats, the question arises: What is the relationship between these designs and the rug's function? The research method employed is descriptive-analytical, and the information is gathered through library research. To unravel the meaning of the rug according to its function, it becomes necessary to understand the icons and the concealed codes within them. Hence, the Iconography method developed by Emil Male has been employed to analyze the carpet. The research findings reveal that the carpet incorporates visual symbols of Iranian ascension and excellence along with verbal symbols of Islamic excellence. Consequently, the combination of visual and verbal elements creates a new narrative that underscores Islamic-Iranian excellence.