جستارنامه فرهنگ و هنر اسلامی
سال سوم شماره 1 (پیاپی 7، زمستان 1402)

It is not long before the emergence of new aesthetics in philosophy and philosophy of Western art, as beauty and aesthetics have long been considered as important concepts in philosophy, Eastern thought, as well as Islamic. Modern Western aesthetics define aesthetics with components in the epistemological domain and the world of the human mind, while from the point of view of the mystic and the wise Muslim through Islamic wisdom and mysticism, beauty has an existential aspect. The main question with this consideration is what distinguishes between the aesthetic aspects of Rumi and modern Western aesthetics? This important is understood in the analysis of the literature-mystical works left behind by Rumi. Rumi has applied special aspects and components to convey the concept of beauty in these works. This is the current research issue. The research will explore Rumi's thinking in this regard by analyzing the semantics in his poems. With this in mind, the research aims to study the aesthetic aspects of Rumi in this way. The necessary information in this research is collected by library method and by jack extraction technique and is analyzed by descriptive-analytical method. The result of the study shows that the concept of beauty in Rumi's thought has been shown according to the concepts of ontology, manifestation, love and astonishment. Accordingly, it has been revealed that beauty and its process of perception originated in Rumi's oriental and Islamic point of view, and is not understood and explained in subjective and sensory pleasure.

Plastering art is one of the most important decorative arts in Iran, whose history goes back to the Elamite and Achaemenid eras. After Islamization, Iran has undergone changes. in the valuable historical remains of Iran, examples of plaster art can be seen, which unfortunately has received less attention today, so the present study investigates and recognizes Iran's plastering and the influence of Islam on it. The importance of this issue causes a detailed knowledge of the buildings and the influence that Islam has had on the arrangement of the buildings. The present developmental research has been carried out using a descriptive-analytical method. Based on this, based on library studies, the art of plastering in the periods before the arrival of Islam in Iran and after the establishment of Islamic governorates in Iran has been discussed in terms of patterns and styles of plastering patterns. the influence of religious beliefs in the Islamic era, especially the prohibition of the use of human and animal motifs in all artistic trends, especially the art of plastering, has been transformative. The decoration of buildings, especially religious buildings, with Sasanian plant motifs combined with the inscription of Quranic verses is a clear example of this. It is transformation.

Decorative motifs on tombstones are a reflection of cultural, social and religious conditions that have been used in the form of animal, plant, geometric, human, inscription and symbolic motifs. The Qashqai tribe has played an important role in political and social events throughout history. Due to the importance and necessity of familiarity with the cultural and artistic background of different ethnic groups, the present study aims to investigate the myths of the motifs used in the tombstones of the Qashqai tribe in Isfahan and Shiraz (Hana village, Qomsheh Palace, Imamzadeh Emad al-Din and Qalat) by descriptive library and field approach. - An analyst answers these questions; 1- What concepts do the motifs used in these tombs express? 2- What is the connection between the motifs and the myths and culture of their regions? The results of this study show that the designs engraved on the tombstones have been created under the influence of three causes, mythological insights and religious beliefs and the influence of the environment. Also, the heroic aspect of the myth is important and has a great impact on the formation of these motifs. Considering that the tombstones are after the arrival of Islam in Iran, we conclude that the influence of Islam on these motifs is very high and also expresses interests. The individual attachments of the deceased and survivors, beliefs, location and time and are a manifestation of the culture of the community.

Islam has a history of 1,400 years in this region. This background caused many aspects of people's lives to be influenced by Islam. One of the most important influences of Islam was the effect it had on the arts, especially architecture. The first buildings that arose after the arrival of Islam in Iran were mosques, which were first established as mosques by changing the use of fire templesand then by building new buildings. During the Safavid rule, the style of Islamic-Iranian architecture reached its peak and all buildings with different uses were built based on this style. According to the decision made by the Safavid government, a group of Armenians were moved from Armenia to Isfahan. The government assigned a neighborhood in the city of Isfahan to Armenians for settlement and they named this neighborhood Jolfa. At that time, churches were also built in this neighborhood by Armenians. The churches of this neighborhood had differences from European and Eastern churches from some points of view, and the purpose of this research is to compare the churches of Jolfa neighborhood and the mosques of Isfahan city (Safavid period) with the approach of cultural sustainability based on indicators (style, body and decorations). This comparison was made between Vank Church, Bethlehem Church, Hakim Mosque and Sheikh Lotfolah Mosque in Isfahan. First, the stylistic and physical characteristics of churches and mosques were studied by library and documentary methods, and then the stylistic, physical and architectural features of selected churches and mosques were studied by field method. The results of this research show that the indicators of culturaln sustainability can be seen beautifully in all the examined samples. Sociability, perspective, order, organization, popularism and privacy are the most obvious indicators of cultural sustainability that can be seen in the architecture of the studied examples.

The mosque, the most important building of religious architecture in the ancient Islamic civilization, which embodies the thought and spirit that governs the environment, has always occupied a place in the center of the city and has benefited from the best arrays. Although the architecture of this historical land is several thousand years old, the efforts made to identify and introduce its works do not have much history. In our culture, the mosque is not only a temple and a place of prayer to the Lord, but also a meeting place for people and an important point of the city. The Vakil Mosque of Shiraz and the Blue Mosque of Yerevan (Armenia) are two magnificent works of Iranian-Islamic architecture in the Zandiyeh period, which are manifestations of Iranian-Islamic art in two different geographical locations. The research method is a combination of library work and field work by examining historical and geographical sources, recording and recording information related to the building, which explains the architectural style, the study of architectural elements, the characteristics of the materials used, and the type of covering of the dome, porches. and the decorations used in the building. The current research seeks to find the answers to these two questions: What do the Vakil Mosque of Shiraz and the Blue Mosque of Yerevan (Armenia) have in common? 2- What are the differences between Vakil Mosque in Shiraz and Blue Mosque in Yerevan (Armenia)? and goals such as 1- analyzing the features of the Vakil Mosque in Shiraz and the Blue Mosque in Yerevan (Armenia) 2- explaining the similarities and differences between the Vakil Mosque in Shiraz and the Blue Mosque in Yerevan (Armenia), after studying and analyzing these two buildings, it was found that this The two works have commonalities and differences, and their common points are the period of construction, the presence of naves, architectural style, and the number of entrances to the building, and their differences are in the number of porches, height, domes, domes, and the number of altars.

The present study investigates the Church of the Light and the Church on the Water by Tadao Ando and compares them based on the [mystical concept] of the journey to the horizons and to the souls , as suggested by Quranic verses, narratives and Islamic architecture. This comparison is also performed based on the approach to the Creator and the way He is worshipped. Hence, the present study is an interdisciplinary study and uses an analytical approach. The goal of this study is to investigate the so-called journey to the horizons and to the souls based on the type of the position of God and the way it is addressed by comparing the Church of the Light and the Church on the Water. The core question of the study is: “How and in what manners is the journey to the horizons and to the souls represented by the Church of the Light and the Church on the Water in order to accomplish the perfection of worship at a religious site?” Considering the intrinsic and internal sense of worship, the findings of this study suggest whether the religious site is a church or a mosque, there must be a transition from the journey to the horizons [divine signs] to the journey to the souls, in order to meet the purpose of the place, i.e., worshipping God. This motion is notable in the manner of designing these two churches. Meanwhile, the journey to the horizons in these two sites is not similar to that in mosques, with the Church of the Light embracing an inward journey to the souls with the presence of the heart and mystical intuition and the Church on the Water enjoying a journey to the souls conducive for man’s faculty of reasoning and intellection.

In today's vast and turbulent world and due to the progress of science and technology and the rapid access and communication of the people of the world with each other, cultural diversity has become one of the most important issues of different societies and has caused the emergence of new and multilayered cultures that can be Shaping new biological methods will be effective in the not-so-distant future. Meanwhile, public culture, as one of the most important elements of society, plays a fundamental role in creating empathy and peaceful coexistence between different ethnicities and religions. Therefore, it is necessary to pay attention to the cultural attachment in the strategy of public culture. Cultural attachment means paying attention to cultural diversity in cultural planning. Politicians and cultural and artistic planners of the country should take into consideration all aspects of the cultural attachments of the society to adopt and implement the decisions and cultural strategies of the country. This can be done through various measures such as education, information, and cultural programming. In this article, the importance of cultural attachment in the strategy of public culture is discussed first. Then, practical solutions to realize this importance are presented and the result of the present research is to explain the importance and necessity of implementing cultural attachment in the strategic cultural and artistic planning of the country.

 In this study, diverse patterns present in the Kurdistan region have been examined as indicative of the local culture. Specifically, the patterns of Chelchleh nest depicted in the inscription-laden carpets of Kurdistan have been investigated using the iconology method. Each one of these animal motifs is a demonstration of appearance and style of some creatures which were of great importance for Kurdistan people’s lives and maybe they evoke some features such as usefulness, fear, respect or sanctity in viewer’s mind. With studying the art works of Ziwiye – Manneana’s ancient capital – and also inscriptions and art works from inhabitant states of region in the early centuries of the first millennium BC, we encounter with some pictures of legendary creatures and animals which were adorn to these artifacts. Also in carved drawings founded on Karaftu cave walls, there are some animal motifs (Goats, camels, and fawns). The amazing patterns of Uraman cliffs and all are signs of the importance and profitability of the nature for humans, they are signs of some animals which were so important that sometimes even have been worshiped by people. But in addition to all these, what was the inspiration for the author in this research, was the phonetic art and the poems, relating rich emotions and feelings in impressive folk literature in Kurdish language. And how beautiful it is to discover the amazing relation between these patterns depicted on objects, with historical and oral literature, which has a special place in this people’s lives.