جستجوی مقالات مرتبط با کلیدواژه "universe" در نشریات گروه "هنر و معماری"

A In this article the role of geometry and its interaction with imagination in creating the unique architectural will be explained. From long time ago philosophers and prominents have referred to important role that imagination and geometry have in the creation of universe. All over the universe, the emergence of geometry at beginning of creation is undeniable. Geometry with its manifestation at physical and abstract realm, in order to make meanings inclu sive; had helped both in matter promotion and its order and also in descent of mean ing by presence of imagination (using the features of formulating at tangible and sensible world). Therefore, in this article, the authors intend to analyze the interac tion between geometry and imagination in the creation of the unique architectural. The present article has a qualitative ap proach and its main procedure is based on the “interpretive” paradigm. Also results of research indicates that geometry and existence of creative architect (in the state of best human) with implementing imagi nation in creating the unique architectural have most important role which geometry in its half abstract realm along architect imagination tend to formulating of phan tom from absent world and he with ap preciation to geometric and mathematics science, construct and combination tech niques in progression of matter promotion and meaning degradation move to create the unique architectural.

One of the major issues of theology is the issue of God's agency. The agency of God - as the agency of every other agent - has a complete relation to his science, which is another of the fundamental questions expressed in theology. The subject of divine agency has been an important topic in the history of philosophy. In this occasion, the principle of divine agency and creation, which is one of the earliest religious teachings in the heavenly religions, is disputed, and the origin of God's action and agency goes back to the innate nature and attributes of God. Allameh Tabatabai, one of the great scholars who has dealt with the subject of God in the system of being, as a philosopher and interpreter of transcendent wisdom, as well as an expert philosopher, while explaining Sadra's beliefs and criticism. From his point of view, out of the six types of agents; God is considered as the superior. This agent is the agent who has knowledge of his verb and performs it by the will and authority of the agent, and all of his knowledge is the source of the act of issuing the verb. This research, which uses a descriptive-analytical approach to Allameh Tabataba'i's thought and attitude about the existence of God in the system of existence and its reflection in the inscriptions of Islamic architecture as Islamic artworks, has been done through library data collection. The results show that after the revelation and understanding of the viewpoints and theories of the agency of God in the system of existence from the point of view of Allameh Tabatabai, as a theory of creation and formation, one can make artistic creations such as inscriptions in Islamic architecture and reflecting mystical ideas.

Research aims:

1- To analyze the viewpoint of Allameh Tabatabai in regard to the agency of God in the universe. 2- To study the reflection of such a view in the inscriptions of Islamic structures.

Research questions:

1- How is the viewpoint of Allameh Tabatabai in regard to the agency of God in the universe? 2- How is such an outlook reflected in the inscriptions of Islamic structures?

Although most kinds of human interaction with architecture are known but the dimensions and details of this interaction, especially in Islamic attitude is not so clear. This study attempted to define the human being, the architecture and capabilities of each and how they interact with each other from the perspective of Islam as well as the relationship
between them in a functional model presented in the field of architecture. Concentrating on the philosophical principles, as the basis of theoretical research, has been the interest of contemporary researchers. Accordingly, attempts have taken place to shape purposeful and fundamental changes in the field of architecture, seeking to achieve practical results in
this area. In this study, the basics of Transcendent Wisdom are considered as the theoretical foundation of research, and correspondence between universe, human and architecture are analyzed based on this consideration. Interaction between man and the universe is the most important topic in the field of creating architectural designs because architects
design their environment in accordance to their viewpoints on this subject. Therefore, to achieve appropriate and qualified architecture we need a good and comprehensive definition of human being, universe, architecture and their relationship. Considering the definition of human, universe, and the capacity of each of them and how they interact with each other, in the context of Islam as well as referring to the vision of Transcendent Wisdom, will help us to present the relationship between them as a practical model in the field of architecture and define qualified architecture. This research, according to Islamic teachings, (especially in the Hadith of Imam Ali) deals with the definition of the human soul and their powers and needs as well as the levels of human soul (Nominal plant soul, Animal sensory soul, rational divine soul, general divine soul) and their capacity, has shown the levels of relationships between the human soul and the universe (Position of
the Divine Nature, Reasonable universe, Universe of Kingdom, Universe of human being) in a model. Using logical reasoning and inferred method of research, this paper tends to prove that qualified architecture should make a communication between the capability of human soul levels and the universe, which will help human to use their perceptual tools (Senses, imagination, intellect, emotion) in order to reach better understanding of the universe. The most important thing about the relationship between man and architecture in this paper is based on the principle that: Architectural space can relatively meet the physical needs of human. Yet, in the case of spiritual needs, architectural space can only be a basis for spiritual perfection of human, because the perfection of man, unlike his physical affairs, is a voluntary and knowingly process rather than a compulsory affair. Research findings reveal that each architectural peace has an existential level of its own, in relate with the existential level of its creator, and it is certified in dependence to its ability in creating the grounds of human acknowledgment towards its being, and human improvement towards perfectness. The present research is a qualitative study, on the basis of logical reasoning. In the first step of this research, the powers and capabilities of human, universe and architectures are defined based on Islamic principles. The relationship between these mentioned variables are studied in the second stage, which leads to the presentation of research models as the findings of this step. Finally, we tried to define a communication model by a logical structure based on research findings. This structure will introduce and clarify the effects of human, universe and architecture on each other, and will develop the grounds of analyzing these three categories in order to improve the quality of architectural spaces. Finally, it should be noted that even though achieving specified definitions of the universe, human, architecture and their relationship is significant, yet, simplifying and appropriate structuring of the defined specifications are the most important issues, which this research is seeking to achieve. Through this process, architects could upgrade their understanding and apply it in their architecture. The presented principles and models of this research are functional in the field of art and urbanism, as they are in Architecture.

Create” is the Lord’s act and “creator” and “creativity” are among his characteristics. Since he has created the man from his effigy and has blown through his soil, as the Lord’s Caliph on earth, the man requires to be a symbol of the God’s characteristics. “Create” and “creation” are virtually ascribed to the man, as well, indicating the creation of artistic works and creativity in acts and deeds. They are meant to signify inventiveness, capability of dominating the creatures, tackling the problems, providing, preparing and constructing the most appropriate living conditions. This seems to be quite plausible in the present era since the man has gained power in dominating the creatures.
The present study investigates a path to the creation of artistic works, in particular, architecture by comparing it to the procedure of creation in nature and generally to the universe regarding Islam and the Holy Quran. Also, it discusses the interaction between an architect and the whole universe and envisages a general perspective based upon his own creation.
In this regard, this study seeks answers to the following questions:● Is the man_ himself as a creature _capable of creating?
● What are the principles and features taken into account regarding the creation of the universe?
● What are the commonalities between the creation of the universe and the creation of an architectural work?
In so doing, a library research and a field study is applied considering interpretational analysis. It, then, follows that as the Lord endows the spirit of creation into the man’s corpse, the man his Caliph on earth_ also gives life to raw materials by blowing his spirit of creation and there comes the birth of Art from mankind. In a sense, creation is always performable and within the procedures of creation opposite elements are juxtaposed to supplement each other; a kind of variation from the same origin to perfection. In other words it can be pointed out that in creation the Lord has manifested integrity by similarity and has endowed identity to every element by purification.

Belief in unity is the basis of Traditionalists’ thought and polarity is the basis of Modernists. In a traditionalist worldview, all dimensions of universe are connected to eachother and especially to Homo. In point of Plato's view in Timaeus, human and universe are together. Correspondence between world, human and temple, a God's house, is a manifestation of this unity. Sacred architecture is the perfect symbol of the complete relationship between human and universe. Upanishads is the manifestation of this concept in Hinduism wisdom. Formal rituals of worship turn into inward ones in Vedanta Wisdom. Accordingly, instead of human or animal sacrifice, it is the soul of the wayfarer that is sacrificed. Furthermore, temple turns into the body of sacrifice and instead of sacrifier, that is the Brahman, the wayfarer himself becomes a sacrifier and the temple, as the place for sacrificing, is replaced with his body. In consequence, human body also determines temple’s geometrical dimensions both in Hindu and Christian architecture. In traditional teachings, sacred place or temple is a microcosm and is considered by almost all Traditionalists as the perfect symbol of universe. In essence, it follows from this worldview on the one hand and from the belief in the correspondence between geometrical dimensions of human body and temple on the other, that temple is the geometrical and incarnated example of principle of correspondence between human and macrocosm. This article considers the relation between human and universe in philosophy, and sacred architecture, especially in Islamic wisdom and Ikhwan al-Safa thoughts.

Heidegger responds to the questions of the nature of art in a different way from the common and conventional methods in the modern time, which are commonly based on aesthetics. The route he takes to get close to the nature of art and the truth of art is a tortuous and hard one. This is so because, in his view, our understanding and appreciation of art, art works, and their relationship to us is veiled by the long historical ontic, Which is by itself a product of the ignorance of being. Heidegger views the history of the late two or three thousand years as the history of the ignorance of being. Ignoring being, man regards himself as the very being, views everything from his own viewpoint, and takes this viewpoint as the very truth. This tendency is quite obvious in our view of art and art works. Heidegger calls into challenge the most obvious and taken for granted concepts such as object and the objectness of an object, tools and their concept, man and his existence, Earth, and the concept of truth. Our perception of art and artworks is based on these named concepts and they have been created on the basis of this ignorance of being. To get into the nature of art, therefore, one should rise above these concepts and the related ignorance. To do so, Heidegger has found some methods in his phenomenological approach. The hermeneutic phenomenological Dasian method can be reduced to: let the objects present themselves, and do not impose anything on them. By putting numerous questions forward, he is to rise above the common concepts in order to allow the objects (whether art works, tools, Earth, truth, human nature or else) present themselves.