فهرست مطالب علیرضا باوندیان

Iranian painting is an art that has been able to depict beauty in the passage of time and has been transferred from the external beauty to the world and things beyond what is evident in its five external senses through the artist's imagination; the world that Schihab ad-Din Yahya Suhrawardi, while acknowledging its existence, tried to prove its existence with some reasonings, and all the scholars of Islam and Iran returned to this discussion and developed it, and as a source, they were nurtured by it. Iranian painter, like an illuminated scientist, by entering the field of intuition and illumination by following the concept of separate space (imaginary world), has been able to transform the two-dimensional level of painting into an image of the hierarchy and by elevating the viewer from the horizon of normal life and material existence to a level above this physical world, a world which, of course, has its own time, place and forms, has made him more aware of this world. Although many studies have been done on Iranian-Islamic painting by the Iranian and foreign scholars, many of its hidden and spiritual aspects have not yet been properly expressed.It seems that one of the most important reasons is that most researchers have looked at these paintings from the perspective of extra cultural studies. They have analyzed these works from the perspective of their beliefs. That is why, instead of analyzing Iranian works of art from the perspective of tradition (in its original meaning), they have paid attention to them from a purely historical perspective. That is why Islamic art is considered as the result of historical interactions of artists, and it is considered as a product of historical exchanges. The approach of Iranian-Islamic painting is the simultaneous emphasis on the material appearance of the work and its delicate interior. This attitude of the painter is the result of a special wise view of art and industry in Islamic civilization, because the painter trained in this school learns to respect creation well and to use his field of action and material activity as an opportunity to reveal and portray the spiritual subtleties expressed in Islamic wisdom.The artists of Islamic Iran were like mystics who came to know the universe through faith. In other words, just as philosophy means loving knowledge, mysticism is knowing the secret of love. In some arts, such as painting, the mystical aspects reach their peak. Light, color and space in this art have the task of showing the power and elegance of love. But, this love has a divine approach; because love does not belong to unstable and transient beings. That is why the painters were looking for subjects so that they could show their spiritual and heartfelt aspirations and share them with the people. For them, the most important book of Muslims - the Qur'an - and its stories was the best option. That is why Behzad goes to the story of Yousef escaping from Zulaikha; by depicting it, he conveys one of the most important mystical religious themes - truth - by involving artists in architectural elements.Kamal al-Din Behzad's painting "Yousef's Escape from Zulaikha" is one of the outstanding works of the Timurid period, which has different artistic and semantic features. This painting is inspired by, and the product of a tasteful explanation of one of the Qur'anic stories that has a mystical Islamic discourse. Although many studies of epistemological, historical, artistic and mystical fields have been done around it, many of its angles have not been explored yet. One of the hidden aspects of this work is the painter's creative effort in conveying one of the most fundamental pillars of Islamic mysticism - namely, truth. Truth in literature and mysticism is the cause of excellence. The aims of this research are to examine the semantic structures and unique creations of Behzad in the mentioned painting and to show his special doctrinal and artistic concerns. It seems that painting has been a tool for mystical expressions for him and in this regard, he has used the semantic meanings of architectural elements in promoting content and technical aspects. The most important questions of this research are why and how did the artist contribute the architectural elements in conveying the theme of truth? What are the special artistic and semantic advantages of this work and what are the findings for contemporary artists?The research method is descriptive-analytical and the method of data collection is documentary and library-based. This research has shown that the painter has used architectural elements with great generosity and special foresight in conveying his desired theme and has taken emerging steps in order to improve the effect of the message by giving special semantic meanings to conventional objects and affairs.

Art has always played a significant and important role in the effective transmission of ideas and judgments.The Wisdom of the Soil in Khayyam Neyshabouri's Artistic MysticismTo explain the aspects and dimensions of Iranian Islamic art, the discovery of mystical and esoteric foundations and contemplation on the inner aspects of this art is an undeniable necessity. Iranian art cannot be identified without mysticism. Mystics and artists reach common ground in the field of Iranian art; Both mysticism and art reach the nature of existence through the path of discovery and rational intuition - that is, the reflection of absolute existence (absolute light). Both the mystic and the artist consider the universe as a manifestation of God's love. The difference is that mystics have no obligation to share their mystical findings with everyone, and this is the reason for using the code language. But artists have to convey their mystical findings in a tangible way. As a result, the most serious topics of nominal art in mystical texts have been highlighted and the most magnificent works of art in Islamic culture belong to those who have walked the path. Since in the field of art and mysticism we see traces of each of these phenomena in the other, we can examine this relationship in the worldview of mystics and mystical artists. The traditionalists who emerged in the world of modernity with the element of tradition seek to create a world using the world of art and mysticism to guide the modern man from the turmoil of the modern world which leads to the originality of the partial intellect to the general intellect. They believe in the influence of art and mysticism on each other and challenge works of art in a mystical context. Mystics and artists look at all phenomena of existence from the perspective of intellectual intuition and consider them as symbols of God's grace. Among these cases we can mention the soil. In the artistic mysticism of the sage Khayyam Neyshabour - whose artistic experiences are in the light of mystical teachings - we sometimes come across words that he has repeated many times in his poems; A repetition that may be a kind of reminder. Among these words are soil, mud, jar, pottery, and the like, the explanation of which can lead to a broader understanding of the valuable foundations of Iranian Islamic art. Khayyam; First and foremost, he is a man of wisdom, and his poetry finds meaning under wisdom. Therefore, he seems to consider poetry - an imaginative and explanatory expression - and a compound for a specific purpose. But what he does is the product of an artistic will in the form of a quatrain — as a capacity for concise, solid, and complete expression. He makes the most of the symbolic capacities of soil and jars to institutionalize his ruling destination. This article is a post-structuralist approach, written by descriptive-analytical studies with the aim of explaining symbols such as soil and jars in his poems, and the author has tried to collect written evidence with a qualitative approach.Keywords: soil, artistic mysticism, Khayyam, world,jar

One of our most important issues in strategic cultural planning; How to use the innovative aspect of human existence in order to protect the values ​​of cultural identity. Literature - as evidenced by historical data and documents - beyond its aesthetic and technical aspects was also used as an effective capacity to preserve, explain and promote cultural concepts. For example, among the writers who believe in the legitimacy of Islam and the way of the religious leaders, how many have used literature as a tool in religious expressions. Therefore, they did not consider themselves merely literate - in its idiomatic status. Their determination was to protect literary boundaries of belief. In order to explain the preservation aspect of literature, this study has used Abol Khazaei's works as an example to explore it through interdisciplinary studies based on inductive reasoning (abstraction and generalization). The prevailing hypothesis of this research is that literary works can be the rational aspect of culture. Imagine and enforce the image of their audience in the language of images and thus protect the values ​​of the message from the path of stabilization.

Magnanimity was a ritual in ancient Iran that found deeper meanings after mixing with Islamic teachings. Photo letters - as interdisciplinary documents - taught the methods of combining art with ethics to art students - with a special rhetoric - This study aims to explain the function of photo letters in promoting professional ethics in Iranian art. For this purpose, with a qualitative method, and using an interdisciplinary interpretation of the text of the photo letters, the sharing of content and their method with the spiritual tradition of Iranian art has been comparatively studied. The need to reconsider the concepts of photo letters makes it clear that there is a way to promote their content in contemporary art. One of the most important results of this is to preserve the roots and roots of the original Iranian-Islamic culture and civilization contained in the photo letters at the public level, and to promote the status of art and artists through the establishment of professional identity and ethics. In addition to the moral content of the photo letters, we can also point to their rhetorical literary richness, which has been very significant in consolidating and consolidating their themes; The symbol of the strategic link between Iranian art and Persian literature is the key to entering the treasures of art in this land.

Discursive traditionalism in different areas of society has been before the emergence of modern times, which had an experimental and religious foundation by passing the evolutionary process. After the modern era and the rejection of the values of the preponderance and traditions, the discourse of contemporary philosophical traditionalists was created, which, by receding to the principles of tradition, tried to create discourse responsive to the social conditions of the contemporary man in modern art and aesthetics such as the concept of space and its physical aspect specifically in contemporary architecture. Therefore, the relationship between art and Abrahamic religions, which in the words of the traditionalists, is the source of confidence in the emergence of traditions and the aesthetics system in which they are present, has a significant amount of their research.
In the literature section, is expressed the scope of efforts to match the views of the traditionalists with the field of theoretical principles and foundation architecture, especially in Muslim societies, and it is pointed to the important fact that the way of expressing them is not in accordance with the diverse and changing needs of modern humans.
According to the purpose of this study, at first, the common concepts (as factors and concepts of synonyms) between wisdom and tradition were studied. It means the relationship between "Islamic wisdom" and "the perennial philosophy " in spiritual traditionalism was examined and investigated. Then, the introduction of traditionalists and their distinguished measures in the field of answering the contemporary human questions about the content of their traditions and applications in the contemporary era has been discussed. Based on the results of these studies, it was found that there is a significant relationship between the Islamic traditions of the traditionalists and the Islamic wisdom. The selection of Islamic traditions from the traditions of all societies has been because the traditions have a general concept of culture, from cultural and social functions of the past nations to the traditions of prophets, however, wisdom in every category and period of time includes the interpretation, meaning, and particular field. Therefore, it should have been selected a share common point between these two general concepts, that according to  the subject of the article, having the Islamic concept was chosen for selection them.
Next, according to the methodology of the current study, which is a qualitative model (it is based on a background analysis of existing resources and the derivation the of keywords to achieve general votes), the descriptive-analytical method was used to investigate the library resources. The progress of content presentation is as follows: first, the concept system in aesthetics view from the perspective of traditionalists, was presented in three aspects (aesthetics aspect (value system), fullness aspect (spiritual system), objective aspect (system), and it led to creating the formation of a process pattern from this content matching. Then, according to the same model, each part of it was analyzed from the closest views of the Isla mists to Islamic wisdom. Finally, all previous steps about merging, adapting and the content matching between the views of the traditionalists and wisdom in architecture, were presented as a model along with a summary table.
Before reaching the results, adapting aesthetics content in traditionalism and Islamic architecture has been done in conformity with the content. In this way, the perennial philosophy makes sense in three aspects more distinct than in the past. These three aspects are objectivity (manifested in mankind), traditions (by indicators), and religion (invaded in reality).
The key to the term "reality" was selected and introduced as a common method to express the concepts between traditionalists and Islamic architecture wisdom and the needs of the modern architectural society. Because it seems that objection to the concepts of decree and philosophy on relocation will resolve the need of the contemporary architect society to benefit from the theoretical foundations of these two areas. The concept of reality has a major role in modeling and simulation technologies, including building information modeling (BIM) technology. Because all of the theories and methods used in the design process in this software are based on formation and modeling, and that is the fact of architecture. What is currently being sought is that this reality is derived from the real truth and authentic beauty that has divine roots. Meaning that the role of modern technologies is merely a tool to create the above-mentioned reality of divine beauty, reflecting the eternal beauty of the perennial philosophy.
On the other hand, we see a new perspective on the philosophy of science in humanities, including art and architecture, which is based on data theory. Meaning that, we will have a cycle of wisdom, knowledge, information and data in all sciences, in which the methods of production, interpretation and adaptation of science in them are based on two concepts. First, there are different aspects of the reality of the universe, which is a subject of various sciences. And the second is the data and its life cycle in every science. Therefore, having a model to describe and explain the process and cycle of life in any fundamental matter in science is a necessity. Having a real and data-based view means a phenomenological approach.
Therefore, the present study, by understanding the need for a phenomenological view of artistic affairs, has tried to use an ontological framework for the research method. This has led to an increase in the reliability of the research method and a significant increase in the application of the results, especially in the human view of the contemporary scholar, which is considered the traditional society as inefficient and old. As a result, the model about the aesthetics structure at the beginning of the study was completed by a scientific cycle and was presented at the end of it. This complete model is flexible concerning the changes in attitude obtained from acquiring knowledge, and it has determined the place of influence and change in cognitive processes.
In this way, it was tried to facilitate the use of its results in the field of different architecture studies, including in the fields of »design research«, »design process«, »theoretical foundations of architecture« and »evaluation« of elements and architectural contexts according to the Islamic wisdom values. This model can also be viewed as an achievement in other fields of artistic research as it can be used to enter many visible and hidden areas in art research and find the results that are similar in the process of research. It seems that the same method paves the way for achieving common content discourse and content sharing between different fields of art with architecture.
Another important point about this final model is that the process of recognition in it is not linear, and it is not occasional and an immediate matter; while it happens in a gradual evolution. It is also based on logical stages that it is not possible to enter into the next stages or achieve a full understanding of beauty, without paying attention to the results obtained in each sector.

What is so- called spirituality in Islamic art and architecture has always been present and has guided artists and architects Towards perfection. The pool, in spite of various uses, also has symbolic dignity. Symbolism is a manifestation of human thought and he never separated from it. Symbols are the Possibilities that human beings can see within the hidden world. Human mind, inevitably, wants to cross the appearance to the hidden. And this important request never stops. In other words, he is always looking for reasons. This pursuit of the underlying causes If continues Brings up the man To the same main destination. As a matter of fact,He sees only one cause for all phenomena, and this is The religious perspective. Therefore, it is natural that religious art and architecture has a symbolic nature. The symbol always says something. The same things that can not be expressed in normal conditions by man.by the way; The symbol does not produce art but rather than this is human direction creates art. as the same way, Instability images reflected from the building in front of the Stagnant water hordes has a reminder aspects. And it is not just a reference to the transience of this world and the thought Annihilation everything other than the essence of the greatness of nature. The truth of excellence that does not change, does not die, and will not die. The shaky images Tell us that Everything is unstable except for God.
In traditional and religious civilizations , Architecture has expressed its inner concepts as a symbol. Because that it was thought there were truths in a world that should only be to be expressed in transcendental language not Normal language. The language of the word can not express the hidden truths of this world and you have to hire sign language. The symbol is an instrument for expressing a concept that is absent from our senses. Symbolic expression means for creating a perceptual context for the transfer of Specific concepts. In the tradition of Iranian houses, the pool was constructed to reduce heat and humidity of the air, to abort, wash and store water and irrigation. Pool was ponds in the large courtyards commonly in front of the "Panjdari" is a large room that is often flanked to the main "Talar"(hall) of the house, and most often connected to a large balcony, where five large contiguous windows provide primary views to the main courtyard of the house. Often, architects built pool on one of the main axes of the home space, so that the length of the pool is along the length of the house. Moreover, The pool was a capacity to reflect the beauties of nature and surrounding buildings. In spite of all these words, The pool also has a symbolic function. This article that is written in descriptive and analytical research seeks to explain the hidden and symbolic aspects of the pool.

Iran has been in path different incursions for a long time. However, always this land's long-standing culture has been influenced, before it is affected and ethnic who invaded civilization has been civilizing. This influence is seen in historical monuments of Iran. Such as, near the shrine of Imam Reza is Goharshad Mosque. Amir Timur's successors, Such as his son Shahrukh,not only using the experience of Iranian architects to rebuild from the ruins left by their father, but his bride Goharshad Khatun, wife of Shah Rukh, built a mosque in Razavi shrine,that over the years, shown as Iranian-Islamic architecture. Gohar Shad Mosque, specific manifestation of an all-out effort builders, architects and artists to the concept of Razavi's culture .The mosque has a different structural and semantic dimensions and the study can be show role of the wisdom of Annecy in the realization of such works clearly. This method is based on Explained of value indexs this heritage from the perspective of wisdom Annecy. Results show that levels of intimacy and closeness architect with topmost truth not only after many centuries in various aspects of the building is readable but today also can be have a pattern for architecture.

Imagination is a two-dimensional concept. The first dimension considers imagination as an absurd concept (non-existent), this meaning is often used in everyday conversations conveying the sense of nothingness. The second, corresponds to the existent dimension commonly discussed by philosophers and art theorists. In the latter approach, "imagination" is the original material of art which provides the opportunity for creation. For better and deeper understanding of "imagination" it seems helpful to review the Islamic Scholars ideas. The present study is looking for the analysis of imagination role in the creation of art. Also, we attempt to justify the process of art creation from the transcendental process happening in artists mind (spirit). At last, in the conclusion part we have come up to the idea that art is the result of the intuition of truth based on imaginative forms, and art world is the result of imagination. The more the artist purifies his being, the more successful he would be in the creation of art.