جستجوی مقالات مرتبط با کلیدواژه « زیبایی شناسی » در نشریات گروه « فلسفه و کلام »

Identifying and analyzing the visual effects of the word Mustache of Allah in the Holy Quran Mustache, which embodies the image if the way in front of our eyes, is mostly used in the Holy Quran with the suffix Mustache of Allah and is often combined with jihad in the Mustache of Allah. This research seeks to recognize the verses of jihad analyze the reasons for honoring the efforts of Islamic warriors and to look at the lofty status of Mujahideen and martyrs in the Path of God. The word Moustache which is used about 173 times in the Holy Quran is one of the most used words in the importance of the use of this word in the present era, we will seek to understand the meaning of the Moustache, from an aesthetic point of view, and interdisciplinary activity. "Quran and art" in the field of Quranic research we will report its results, The Holy Quran paints a smooth and sometimes rough road in human thought. A person who for any reason decides to follow a path needs a path even though this path may be dark and winding, but in any case the appreciation of stepping on this path is in evitable for every path and the passerby has a vital in order to reach his very laborious and rough for the Mujahideen of Gods way just as the path of any desired and loved one can be like this.

IntroductionIn the present day, we are faced with the dominance of various and plural and sometimes contradictory discourses, which is famous for the post-modern era, and this relative dominance seems to be trans-valued and trans-ethical, after the weakening and falsification of any rational, scientific, traditional and discursive criteria in the explanation. The criteria of correctness and truth are summarized in the pseudo-proposition "every opinion is respectable and worthy of value". Therefore, it is necessary to understand our times better by returning to the beginning of the modern era and analyzing the discourses and values of that era. According to the author's belief, it is indispensable to deal with the romanticism movement as one of the influential and revolutionary discourses that emerged simultaneously with the development of modernity in the West. In this article, an attempt is made to examine and analyze the movement of German romanticism from a philosophical point of view. Historically, the tradition of Romanticism was strongly highlighted by German thinkers in the late 18th and early 19th centuries. Although traces of the ideas of this intellectual tradition can be found in Britain and France, it was in Germany that the artillery of romanticism was equipped with intellectual-philosophical tools as much as possible and, according to Isaiah Berlin, led to a revolutionary change in the history of Western thought. Specifically, the opinions of two important philosophers of this era, namely the peak of enlightenment, Immanuel Kant and the spirit of storm and drang, Gottfried Herder, are of great importance in the romanticism movement. It should be noted that although the philosophy of German Romanticism is influenced by what Isaiah Berlin calls anti-Enlightenment thought, but considering the influence that this tradition has received from the aspects of Enlightenment thought, as Friedrich Beiser believes, it cannot be completely anti- Enlightenment summed up. From this point of view, considering the deep relationship that exists between contemporary philosophies, especially the so-called continental philosophy with the philosophy of romanticism and specifically the Athenaeum circle, here an attempt is made to give a general outline of this relationship, both in the final summary of each It should be drawn from the middle parts of the writing and in an independent part under the title of the legacy of romanticism in contemporary philosophy. MethodologyIn order to carry out this research work, we will use Berlin's and Beiser's works, specifically their works about romanticism, in order to explain Their ideas clearly. Therefore, we have attempted to critique and evaluate their views by utilizing descriptive-analytic methods, relying on commentators' views, and utilizing authentic sources and documents. Discussion and ConclusionRomanticism's attempt to create a synthesis between the Enlightenment movement and the storm and drang movement in the field of philosophy, aesthetics, ethics and politics is worthy of consideration. But too much emphasis on modern anti-rationalist ideas, in certain circumstances, leads to the collapse of order, ethics and political order. Although the ideas of romanticism in the individual sphere can moderate the problems of modern life, it is necessary to reconsider the application of these ideas in the collective sphere.

 Wisdom and philosophy in Iran have an ancient history. In ancient Iran, especially during the reign of Khosrow Anushirvan, a lot of effort was made to develop philosophy and wisdom in Iran. With the coming of Islam to Iran, this process continued until it reached Suhrawardi. Suhravardi is the link between the philosophy of ancient Greece, ancient Iran and the philosophy of Islam. By accessing ancient sources, especially Zoroastrian Avesta and Ferdowsi's Shahnameh, he created a remarkable link between Eastern and Western philosophy. As a revivalist of the wisdom of ancient Iran, with full knowledge of Iranian philosophical thought, Suhravardi presents a mystical interpretation of the personality and actions of the legendary heroes of Iran, such as: Ki Khosro, Fereydon and Kiyomarth. Also, Suhravardi's special attention to "Nooral Anwar" shows his affinity with the Quran and ancient Iranian culture. The description that Sohrvardi gives of Zoroastrianism and Zoroastrian concepts in terms of attention to light, fire, divine furnace, division of the world into two parts, Minoan and Gitian, as well as Zoroastrian angels, clearly shows the extent to which he was influenced by the wisdom of ancient Iran. In the discussion of aesthetics, Suhrvardi pays special attention to all aspects of "moral function", "world of example", "beauty and love" and "epistemology". which can be cautiously considered as a special science originating from "aesthetics". In this research, an attempt is made to reflect on the wisdom of ancient Iran and on the beauty and mystical love of Sohrvardi, relying on the philosophy of aesthetics.

In contemporary ethics, moral expert as a person who can recognize sound behaviors in complex situations and be the ideal moral agent. This matter is not new and can be found in Hume's moral philosophy, but it is not as well-known as it should be. If we look at Hume's works, not only we will find a lot of evidence in this issue, but also there is correspondence between it and the true judge, the famous doctrine of Hume’s aesthetics. As there is true judge as a person in aesthetics that with Strong sense, delicate sentiment, practice, comparison, and free from all prejudice Gains general principles of art and recognizes real beauty; In morality, there is a man of temper, preserve himself from illusions, has the command of himself and can separate feelings in complex situations. he determines the right behavior, virtue, and vice. Also, both true judge and moral expert recognize common mistakes and are considered as ideal figures.

In this article, we try to explain Merleau-Ponty's art and aesthetics by focusing on his phenomenology, which is based on bodily sensory perception and show that Merleau-Ponty's phenomenological analysis of the body in his early writings, such as the structure of behavior and especially the phenomenology of art in perception. He is the determining element in the formation of his philosophy of art. The main hypothesis of this paper is that body and art have an intertwined relationship and form the basis of Merleau-Ponty's aesthetic phenomenology. Thus, the artist's sensory perception and body-to-body relationship with and reflection of this encounter in the work of art is a concern of what we have called the body-centered aesthetic phenomenology. In addition, in this phenomenology, we consider painting as a way of thinking that Merleau-Ponty has analyzed concerning Cézanne's works, as well as body-centered aesthetics and, consequently, the close connection between body and art. In this article, we have tried to advance our analysis by referring to the key works of this philosopher.

The existence of rhythm, harmony and symmetry in architecture and music shows us, these two artists have a lot in common. The buildings left from ancient times to the buildings that exist today; They express a conceptual connection between music and architecture, and it can be said that both arts have been the messengers of single concepts at any point in time. This connection is so much that some have mentioned architecture as frozen music.  These links have connections and points of commonality that these similarities and commonalities can be defined and categorized in these categories. Physical, visual, conceptual, epistemological, functional, aesthetic, structural, cultural, contextual... The purpose of this research is to find the connection between Plato's views and the aesthetic commonalities of music and architecture. The main research question: Is it possible to find commonalities between architecture and music according to Plato's views? There is no specific hypothesis in this research and answering the question cannot be considered as a novel hypothesis. This research has been carried out using a descriptive analytical method. The relativity of ideas and differences of opinion is one of the biggest obstacles and limitations of this research. Seyyed Baqer Hosseini in an article called "Mental pattern: the product of the interaction between music and architecture design" in Abadi magazine, year 19, number 64, page 123-125-126, deals with the proportions of music and architecture.

Text This article studies the Hellenic and Hellenistic sources of Pseudo-Dionysius on Beautiful, and its purpose is to clarify the extent of the influence of the philosophy of Plato, Aristotle, Plotinus and Proclus on aesthetics in the thought system of Dionysius. This purpose is pursued through a descriptive-comparative-analytical method and The method of collecting information is also library and documentary. The result obtained from this study shows the complete predominance of Hellenic and Hellenistic aesthetics on the thinking of this medieval thinker; Although it has used them in a new structure. Among the influences of these philosophers on Dionysius’s aesthetics can be mentioned; The Transcendent Beautiful, the difference between Beautiful and beauty, Beautiful as being cause and the ultimate cause of everything, the way and types of movement in the arc of ascent and descent, the relationship of the One with Good and Beautiful, the unity of Beautiful and being beautiful in the order of divine nature, the interplay of light and Beautiful, the role of love as a factor of connection and movement towards Beautiful, belief in beauty in the essence of matter, entanglement of light and beauty in Hierarchical system of descending arc.

According to Islamic philosophy especially Mulla-Sadra’s wisdom, it is considered three forms of being for human in accordance with three realms: matter, imagination and intellect. In each of these, mankind has different kind of cognition and deed. But also some of perceptions and deeds is accounted to the heart. Three different views about the heart and its relation to the intellect are found among Muslim philosophers and mystics. In the present study, according to Allameh Tabataba’i’s reading of Sadra’s transcendent wisdom, “heart” is introduced as the virtual metaphor of the soul or the very truth of man, which is above all three areas of human existence. From the viewpoint of Allameh Tabataba’i, perception of beauty is a kind of presential knowledge and has a direct relationship with the heart, and consequently affects it. Therefore, he considers an important role for beauty and adornment in human life and considers it necessary for human social life. He considers man's attention to beauty according to his powers and needs and as a result of divine inspiration so that the aesthetic view has a great impact on the completion of human existence and describes art and literature as one of the most important constructional perceptions of every society.

Beauty is one of the important topics of man and the field of philosophy, which is mentioned in the Qur'an with the words of beauty. Some Islamic thinkers, such as Ibn Sina, present the characteristics of order, moderation for beauty, and others, such as Ibn Haytham and Abu Hayyan al-Tawhidi, consider fit and tangible harmony as the criteria of beauty. Western philosophers also fall into this category with tangible mathematical and geometric definitions and criteria. In the verses related to the Holy Quran, the word Qadr meaning size, measurement, destiny has been emphasized many times. But the difference between these three categories of theories can be seen in the wider range of verses of the Holy Quran, including heavenly and earthly beauties, as opposed to the perceptible aesthetics of Western theorists such as Socrates, Aristotle, Aquinas, Neoplatonists, and Umberto Waco. In addition, the ideas of Islamic philosophers and mystics can be studied in both categories of perceptible aesthetics and terrestrial-celestial aesthetics. Colors are very important in aesthetics from the point of view of the Holy Quran and also from the point of view of Islamic mystics. In many verses of the Holy Quran, the variety and variety of colors is a sign for the wise. This expression, with a special comprehensiveness, includes all phenomena and colors and introduces the differences of colors as scenes of divine power. Also, white, green and yellow colors have aesthetic advantages in describing heavenly beings and believers.

In this article the epistemological foundations of estrangement of consciousness in Sohrewardi's thought are analyzed by asking the question of what is the origin of these foundations. Illuminative knowledge is knowledge in presence and is the opposite of acquired knowledge. Sheikh Ishraq considers that the inference and opening of what science is? What its foundation is? And how it is understood? By referring to the knowledge in presence. The present study shows that the guide and common point of aesthetics of agent of species and the epistemology of "return to me" by the earthly self will be in the meta-historical process. Sohrevardi's anthropology has led to one of the most basic themes of Corbin, namely the estrangement of consciousness. In this article, based on the origin and function of "fall down", the existence focused on the other side of death has been interpreted in the movies with the theme of estrangement of consciousness. In the narratology of films with the theme of stranger consciousness it was found that in the three - dimensional unity of story (narrator, narration and the object of narration) the narrator is the subject and also the theme and object of epic. To analyze these epistemological foundations and aesthetic accessories, Henry Corbin’s phenomenological method has been used

Kant limits aesthetics to judgment of taste. The faculty of judgment issues ugly and beautiful arbitration in relation to the pleasure of the external object. Kant considers aesthetic judgment as a cognitive judgment a priori sentence, and inserts it under the title a priori mental categories, indicates: "quantity", "quality", "modality", and "relation". With this approach the aesthetic judgment while being a "singular judgment", must be accordance with the a priori of quantity requirement, have "generally" and "including validity", and so on its "purposiveness" from, because of the inclusion in the a priori category of "relation" must have no purpose. Also the a priori category of quality requires the judgment of taste not to interest, this requirement in the issuance process of aesthetic judgment no conceptual interest should be involved, while the imagination faculty despite all possibilities can only simulate the understanding faculty, and without its conseptualazion cannot issue a general judgment.

The approach is the attitude and style that the researcher relies on to seek closer to his hypothetical project. In fact, the approach refers to the angle of view or direction that the researcher takes. Collectively, how to deal systematically with a particular issue or situation is called an "approach." In modern literary criticism and analysis, the research is based on a set of approaches based on which the researcher seeks to know and understand, interpret and criticize the texts. Research approaches that have a methodological and sometimes interdisciplinary nature are unique theoretical and methodological frameworks that seek to analyze texts in an epistemological process.

The extent of Sufism and mysticism as teachings, experience, art, thought, practice, knowledge, and its schools and practices has led to broad approaches to it. Sufism and mysticism have had many functions, contexts, and influences, both due to their buoyancy in definition and due to their continuous presence in the cultural history of Iran; Therefore, the scientific confrontation with this Iranian phenomenon requires various approaches, so that it is not possible to recognize and analyze Sufism from a fixed perspective. Sufi scholars, especially Western mystics, have used various approaches such as phenomenology, mythology, linguistics, hermeneutics, etc. to recognize and discover the symbols and basically what and how Sufism is.Although the orientalist approach has a long history, it has no background in recognizing and analyzing the approaches with which Western mysticism has explored Sufism. . Due to the study gap, apart from the present study, there is no independent and comprehensive research that has examined the necessity of the methodology and research approach of Orientalists in mystical studies in general, and Louise's mysticism in particular.The basis of the present study is a reflection on the research of Leonard Lewisohn (1953-2018), an American mystic who, in comparison with many orientalists, has analyzed Persian mystical texts with structured methodologies and approaches. This Sufi scholar has used different approaches in his Sufi studies depending on the context and time of the subject. In this discourse, due to the necessity of his mystical approach, he has studied and analyzed Lewisohn's research from this perspective, and we have come to the conclusion that he has well understood that looking at mysticism from a perspective is a component.Or a particular feature, causes the subject to be seized, reduced, or ideologized; Therefore, by choosing both aesthetic and historical-social approaches in his mystical studies, he has sought a more comprehensive and realistic cognition of Sufism.

In his mysticism, Leonard Lewisohn has explored Sufism with specific approaches such as aesthetic, historical, social, and comparative approaches. What the Orientalist's methodological analysis shows is that the socio-historical aspect is more analytical than his other approaches, and his aspects of Sufism no longer have the depth of this approach Lewisohn's aesthetic view of mystical texts is, above all, corresponding to mystical symbolism and its interpretation and literary artistic functions. He considers the aesthetics of Sufism to be inspired and discovered, and calls it the "aesthetics of taste." According to Lewisohn, the aesthetics of Sufism depends on the knowledge of the cognitive metaphors of Sufism, the origin of which is "science". Lewisohn considers the interpretation and decipherment of mystics' allegories as a work of art and believes that interpretation is the discovery of exemplary meanings and the understanding of the relationship between property and kingdom, which is possible by passing through the word and reaching the world of example.Another aesthetic aspect of Lewisohn's research is the discovery of artistic symbols of "infidelity." Lewisohn's explanation of this is not focused on the classification and interpretation of these symbols, but rather on the explanation of the political and social components of infidelity and the transgression of taboos. According to him, infidelity is the secret of esotericism and confrontation with the demonstration of the official religion, which reveals the totalitarian belief of the Sufis. Lewisohn has viewed the literary tradition of blasphemy and superficiality necessarily and exclusively from the socio-political dimension and function of transgression; While this kind of look is a reduction of the subject.History is the basis of Lewisohn's research; In such a way that he has never neglected the socio-historical approach in recognizing Sufism. According to his historical analysis, Sufism has had a wide and continuous function in the intellectual life of Iranians, so much so that he considers Sufism to be the "institutionalized religion of the masses." Examining this aspect of Lewisohn's research, we have come to the conclusion that the most important aspect of his historical approach is the conflict between jurists and Sufis; As far as he believes, the "historical evolution of the Sufi-Mullah transition" is very important for the flow of Sufi thought. The pivotal history of Lewisohn Behnik has revealed the background and time of Iranian Sufism; But sometimes, seeing merely historical matters of spirituality, has caused him to fall into the conflicts of jurists and Sufis and not be able to reveal and introduce the spirituality captured in history and society. The historical approach to the study of Sufi texts, for all its value, sometimes fails to discover the spiritual spirit of mysticism, and the spirituality trapped in history and society becomes merely ideology.

The purpose of this study is to explain and analyze the relationship between art and religion based on the views of Christianity, the Enlightenment (Kant) and the religion of Islam.

The research method is descriptive and analytical, deductive and comparative inference. For this purpose, first the views of Christianity and the Enlightenment period are explained and analyzed according to Kant's view on the relationship between art and religion, and then the relationship between art and religion in the perspective of Islamic aesthetics is introduced as an alternative theory. The main question of the research is what is the relationship between art and religion in the view of Christianity, the view of Kant's Enlightenment and the view of Islam?

Findings showed that the religion of Islam has dealt with art and religion in a different and coherent way compared to the two competing views, and has based art and religion on monotheistic principles from the aesthetic point of view.

The authors of the research conclude that in the christian approach, the separation between art and religion can be imagined as "art exclusivism". The enlightenment view, especially Kant's view, recognizes the value of art in the pleasure it derives, and only the connection between religion and art in moral religion is significant. In islamic aesthetics, art is not independent of religion under any circumstances. In the christian approach, the independence of art from other scientific realms is clearly seen, but in the Islamic approach, art is tied to divine monotheism and the teachings of the Qur'an. Accordingly, the theory of Islamic aesthetics is coherent and as an alternative theory is more accurate than the other two theories.

Disinterestedness in the aesthetics means that the aesthetic judgment should be free or pure of any interests. It should be just upon on pleasure way not based on agreeable, what is good for me, and what is morally good. Although it has been introduced as a one of innovations of Kant in the Aesthetics, texts of Avicenna about pleasure and beauty show that he also has emphasized to this concept. In fact, he has noted to the especial word that is “Molaem”. Its mean is a pleasingness and pleasure. The Molaem is perfection and goodness of a perceptive faculty. He has emphasized the pleasure perceive just by the Molaem so nothing else like agreeable, good and morally good do not influence to be obtained Molaem. Since the perceiving of beauty subject to obtaining Molaem or perceiving pleasure is known, the disinterestedness in his aesthetics is apprehensible. But it is clear that Kant has tried to explain it obviously, deeply and more than Avicenna. Therefore, after comprehensive review of the Avicenna’s beauty thought and his idea about disinterestedness by descriptive-analytical method, it compares with idea of Kant about the disinterestedness. The results show that the disinterestedness has been described by Avicenna and Kant, is same. So, we can claim that the concept that Kant has focused on, had noted by Avicenna.

: The present survey aims at analyzing the concept of aesthetic experience as the most powerful and meaningful experience of human life. The author of the article attempts to find the relation between aesthetic experience and Faithful experiences with a glance at allameh tabatabaee views.

the method of the paper is theorical (descriptive- analytical) and library data collection.

The results of the research indicate triple relationship among elegance, the faith and mysticism,

The authors of the research conlude aesthetic experience as an indicator of Truth in the field of Imagination and is gained through Mindfulness and  intuition  based on the faith and knowledge . The faith in the viewpoint of allameh tabatabaee is based on the love of Allah and aesthetic experiences are related to love. Therfore in order to find the relation between aesthetic and Faith, we have to analyse the meaning of love. on the other hand aesthetic is not just related to materials .the truth of aesthetic is rooted in rationality and furthermore, even the materialistic level of aesthetic is also has an inner and deep level which should be explored.

The purpose of this study is to explain the position of reason in axiology (fields of ethics and aesthetics) from the perspective of Nahj al-Balaghah. This research uses a descriptive-analytic methodology with inductive approach. The research findings indicate a two-way relationship between reason and axiology from the perspective of Nahj al-Balaghah. On the one hand, reason is the most important tool in discovering moral values, and on the other hand, moral virtues cause the correct functioning of reason. In addition, the beauties of the created world are worthy of reflection, and contemplation of them causes the penetration of the existing harmony into the mind and the flourishing of understanding. Nonetheless, due to the limitations and errors of reason, the use of experience and narration as complementary tools in axiology is recommended, and the divine revelation has the final say. On this basis, it can be stated that the position of reason in axiology is a moderate position. However, according to God’s expectation of man to the extent of the intellect bestowed on him, it is necessary for the researcher to recognize and judge it in valid axiology and to have them crystalized.

True questioning of Iranian and Islamic Aesthetics is the first step to reach better understanding of this field of study. In interpreting “art” and “beauty” we need to avoid prescriptive approaches, over generalizations, giving unnecessary holy meanings or basing our investigations on finding synonyms of “art” and “beauty” in ancient or classic texts. Normally, discussions on Iranian art and culture’s fundamental principles and theory start with finding synonyms of art and beauty in classic texts, without considering the fact that the meaning of these words have changed during the history, and also there is a fundamental theoretical difference between traditional and contemporary art. In contemporary aesthetics beauty and art is subjective and related to hand made human objects while in mystic approach (traditional one) beauty and art are supposed to be an ontological and existential products of God who creates nothing but beauty. Instead, we need to see the problem realistically through methodologically problem-based approach. The present study is about to avoid the usual starting point for finding the theoretical foundations of Islamic and Iranian Art and Aesthetics; i.e., finding the synonyms of “art” and “beauty” in mystic texts. We should consider the fact that beauty in classic and theoretical texts is considered to be an ontological characteristics of the world in general while in the contemporary world beauty is mostly considered as subjective feature. Iranian art is mostly decorative in architecture, and narrative in painting and illustration, and finally romantic and didactic in literature. Among these arts, we can only find some theoretical discussions in literature regarding the interpretation of beauty and evaluating the works of art (literary texts). Such discussions are gathered under the name of “Elme Badie” that is somehow synonyms with the meaning of rhetoric. Elme Badie is able to describe, and interpret all figures of speech with extended examples and advanced terminology. It seems that this field of study should be revived and used as the first step in aesthetics studies in order to understand the taste of Iranian and Islamic taste of beauty and art. Any investigation in Islamic or Iranian aesthetics ought to start from this first step to be able to formulate the problem realistically and methodologically. In fact, this paper proposes that instead of finding the roots of Persian Aesthetics, i.e., discussions on art and beauty in Islamic mystic texts, we should consider the fact that Persian Rhetoric or Elme Dabie has established itself as a alternative aesthetic theory; however, it remained mainly focused on literary discussions. Persian Rhetoric has long obsessive discussions on defining literary terms and finding proper examples for them. There are number of reasons why Persian Rhetoric never involved with aesthetics as the theory of visual arts like religious barriers, and authoritarian structure of the states who always encouraged conservative romantic and didactic literature instead of visual arts. Therefore, we can surely say that Persian Rhetoric developed to be an alternative theory of aesthetics in a social and political conditions where comprehensive aesthetics theory was not possible.