جستجوی مقالات مرتبط با کلیدواژه « خیال » در نشریات گروه « هنر و معماری »

Problem statement:

 Imagination plays a complex role in the architect’s design process and the formation of the architectural work. Since the creation of an architectural work requires a multi-layered and interactive process, it is important to know the imagination and the factors influencing it. Imagination, as a part of this complex process, is the architect’s ability to imagine space, structures, 3D designs, and functional aspects.  But the design issue and concepts related to it, and on the other hand, while creating a work with an extraordinary form, sometimes prevents from paying attention to imagination and its nature. What are the types of architects’ imaginations in creating an architectural work?

The purpose of the research is to identify the types of imagination and its role in architectural work based on the neurophilosophy perspective; which, while responding to the physical needs of the audience, provides the basis for adapting to the audience’s imagination and creating a desirable atmosphere.

The current research is qualitative, employing a qualitative research strategy (interpretive-analytical), which deals with the description, analysis, and explanation. Collecting data was carried out through library studies and by studying architectural works. The data analysis method is qualitative. Through theoretical foundations literature review and analysis of some examples of the world’s contemporary architecture, the types of imagination and its role were proven. Row House, Carlo Felice Theater, Jewish Museum, Solaris Building, Thermal Baths, House II, Borromini’s Church, 8 House, Guggenheim Museum, and Capsule Tower are selected as examples of architecture.

The findings of the research show that imagination in the creation of architectural work can be placed into ten types: personal, collective, ethical, ecological, embodied, linguistic, narrative, representational, material, and metabolic imagination. The role of each type of imagination, based on the neurophilosophy perspective, can be placed in four categories: mental imagery-based, intentionality-based, novel combinatorial forms of the imagination, and phenomenology-based forms of the imagination.

Problem statement: 

Imagination is one of the themes that have always been the focus of Iranian sages and philosophers, to the extent that without knowing the role of imagination, it is not possible to achieve a correct analysis of the manifestations of wisdom in Iranian architecture. The problem is that in many studies, researchers seek to understand works without considering Iranian wisdom and insight which are the basis of Iranian art and architecture.  The understanding of Iranian architecture focused on Western philosophy, not only does not lead us to a correct understanding but also misrepresents it.

Therefore, we seek to understand the concept of imagination from the Iranian wisdom perspective and its role in Iranian art and architecture, to achieve a correct understanding of the place and role of imagination and its impact in different parts of Iranian architecture. For this purpose, we attempt to investigate the place of imagination (theology, anthropology, and cosmology) based on wisdom, then discuss the conjunctive and disjunctive imagination and their characteristics, and finally, the role of imagination will be described around the two main pillars in the formation and reading of artwork or architecture, that is, the artist (the architect) and the audience of the work. 

Therefore, this article is theoretically based on Iranian wisdom. The research design is qualitative and the research method is descriptive-analytical with a logical strategy.

In the conclusion based on the opinions of sages, the four principles of “regeneration of truth”, “sum of opposites”, “reflection of the truth” and “architecture, always endless” are based on imagination in Iranian art and architecture, and then the artistic and architectural models of these four principles are proposed and their examples will be presented.

Qajar era is one of the large periods of Iranian history. In the era an appropriate context was provided for the growth of all kinds of arts, including the art of carpet industry. The Iranian handwoven carpet had had various changes, designs, and motifs. Carpet has imported on cultural and social trends and different eras have seen various designs and weavings. Pictorial carpets were generally from Iranian epic and mythological literature. In this relatively long period, the majority of Iranian arts such as carpet weaving, after a period of stagnation, once again revived and artists in continuing Iranian rich art over the years, especially the Safavid period, began to create artistic works. This works in the context of developments and arising from the circumstances of the society of that era contained features and independent identity that had a significant difference from the era before it. Qajar era is a period in the history of Iran in social, political, and economic areas creating a new era in Iranian history. In the Qajar era, there were royal exhibits and artists made portraits and pictures of their contemporary kings. Kings’ and princes’ picture simulation was a novel art. 19th century can be called the beginning of the picturing movement and its affection for the Iranian carpet. Under these circumstances, pictorial carpets were produced and their installation on walls made an evolution in carpet utilization and the presentation of the picture on carpets was more justifiable. Qajar period faced many ups and downs and good and bad days, incorporating a wide range of changes due to the presence of competent and incompetent kings ruling the vast country of Iran. A major change in this period is the innovation of pictorial rugs, which were used to depict the king of the time Houshang Shah and were replete with national and mythical themes. These rugs were designed and woven not only under the influence of the fixed and custom patterns of their place and time but also based on their artist designers' imagination. The main materials of the imagination are the mental images; through creative mental imagery and in the light of clear experience and intuitive perception, the artist interpretably narrates the concerns of his world such as desires, frustrations, worries, and repressed dreams that have failed to be realized since childhood. All the elements embossed in the body of the rug arises from the previous comprehensive patterns. These previous comprehensive patterns can be analyzed using Gilbert Durand's mythological approach. Gilbert Durand was born in France in 1921 A.D. Durand’s theories are according to the triangle of mythology, anthropology, and the imagination. A large part of Gilbert Durand’s activities is related to the topics such as myth, fantasy, thinking about death, and time control. The imagination plays an important role in this regard. Myth and imagination create the implication of the design and pattern of Houshang Shahi pictorial rugs. The main root of these myths and imagination of the artist-designer is fear of the passage of time and attempts to control it. Durand maintains that all human being’s imaginations are inspired by the concept of time. All imagined forms, therefore, are essentially rooted in time. Gilbert considers the period of fear to be the main source of human imagination throughout the ages and introduces death as the greatest fear of man. Durand provided a complete list of previous structural stimuli and traditional structures as two systems, namely night and day. He believed that every art contains elements of the two poles of dreadful and without dread. He believes that time demonstrates itself by the images; in fact, the structures forming the imaginative figures are entirely based on the “time” and Durand specifies the discourse and image networks of a literary and artistic work by his method. This means that the images are indicative of the fear of the time because there is a “fear of death” behind every fear and a “fear of time” behind every death according to Durand’s theory. The man creates a relationship between the fear and the time and realizes he goes towards the death by the passing of time then fears and consequently, a series of dreadful images (animal figure, dark figure, and fall figure symbols) will appear in his imagination and mind. The presence of elements of imagination, myth, and previous comprehensive patterns in Houshang Shahi rugs has led us to use Durand's theory. In the present research, Durand’s imagination approach has been used to analyze the visual content of the Houshang Shahi pictorial rugs and particularly its diurnal and nocturnal pictorial patterns. In the first part of the article, Durand’s imagination approach has been addressed. In the second part, the visual structure of the carpet has been analyzed based on the mentioned approach. The artist-weaver has successfully created a new space by changing the patterns of Houshang Shahi rugs, overcoming his fears with the images of the night system, and creating a calm and moderate atmosphere on the Houshang Shahi rug by bringing the contrastive positive and negative symbols of the day system. To achieve this goal, the following questions are raised: Are the images of mythical imagination evident in Houshang Shahi rugs? If there are images of mythical imagination in Houshang Shahi rugs, do they have the metaphysical power to create works against destruction, death, and destiny? What approach is the dominant mythical imagination in Houshang Shahi rugs? The present study tries to answer these questions according to Gilbert Durand's night and day system. The required data were collected using the desk research method. To describe and analyze Houshang Shahi rugs, the attempt was made to use valid and first-hand works. This is important because one of the goals is to recognize the mythical concepts of Houshang Shahi rugs' design and pattern using a new approach. The artist-designer and weaver display his/her beliefs as well as the dominant discourse of the time in Houshang Shahi rugs and uses bipolar contrastive (the day system) and interactive (the night system) elements and symbols to achieve this goal. According to the research findings, it can be concluded that the artist weaver has used the constructs explained by Gilbert Durant to illustrate the subject of Houshang Shah to express his ideal theme and immortality with great emphasis in Houshang Shahi rugs. In these rugs, the structure of the weaving artist's imaginative system is more inclined to draw images and symbols of the day system through positive evaluation and the night system; for the weaver, in the face of passion for life, death also has a hidden and permanent presence. And so that, it lapses, each of the symbols was presented in reciprocity to a human potential movement reaction, and it was also said that each of the reactions were due to the human's fear of confronting the time going on.Therefore, it can be said that by simultaneously using all three heroic (daily system), mysterious and hybrid structures, the designer has tried his best to create such a work that reflects the theme of striving for excellence and immortality well.

Art is a vital part of human existence, which accompanies him at all times, in all stages of his life, and is visible. Staged photography is an artistic approach to photographing and displaying images. Staged photography is the only genre that has established such a close connection between the arts today. Staged photography is defined as a combination of photography, sculpture, theater, and installation art. This art was born in the 80s of the 20th century in Europe, but in Iran, where almost a decade has passed since its expansion, it is busy shaping an art movement that has a different concept of its concept in the West. Artistic photography in Iran may have come about for reasons such as the hard work of documentarians and the lack of acceptance of documentary works in the eyes of publishers and gallery owners. Artists turned to artistic photography due to the collective taste and change in the visual taste of the audience. The work of news and documentary photographers of this period is an indication of this change in taste. The works of this period have not been affected by the isolation of artists in society and the closure of several publications and magazines. Instead of taking pictures in the community, the photographers started using stage design to create them. Staged photography in Iran has only one similarity with this type of photography in the West, and that is the process of making a photo, but in terms of its formal features, it is very different from the flow that exists in the West. A comparison of the role of fantasy in the staged photos of Sandy Skagland and Gohar Dashti has been discussed in this article.

Symbolism and aesthetics of people are reflected in their arts and are readable by exploration. Other researchers of nomad’s black tent architecture focused on technique, detail, structural or climatic properties, and their lifestyle. They admired the beauty of tent architecture, but have not investigated its aesthetic characteristics. In this research, Qashqai black tent is considered as a manifestation of vernacular architecture and its aesthetic symbols and massages are discovered by phenomenological exploration. The research aims at identifying the meaning of Qashqai black tent architecture. Aesthetic and symbolism as the highest level of meaning of nomad architecture have not been studied before. Data was collected through observation of one group of nomad’s summer black tents and interviewing with women and was analyzed by phenomenological hermeneutics. The theoretical framework was developed based on the cultural theory of Rapaport and phenomenological theory of Bashlar. Based on this theoretical structure, the components of the cradle, borders, inside/outside, big/small, ideal, nest, shapes, and colors are analyzed in three layers of imagination, dream, and fiction. The research question is how do the aesthetic and symbolic features shape Qashqai nomad’s black tent? The results confirm the effects of symbols of unlimited dreaming, the boundlessness of the realm of residence, the elements of nature, the sanctity of the stove, shelter, perfectionism, the human appearance of the black tent, love of home, a miniature of an ideal mansion, intimacy and relative boundaries. It is concluded that the whole set of black tents with surrounding activities form a home, and it can be defined as the formation of spaces in a spiral structure around the nomad woman. Therefore, beside other factors of shelter and lifestyle, the perceptual concept of shelter, meaning, and symbols play a fundamental role in creation of the vernacular architecture of the black tent

One of the most popular types of literature classification by Western critics, based on emotion, is "lyrical literature." The purpose of this study was to investigate the common images in the three systems of Weiss and Ramin, Khosrow and Shirin and Gol and Nowruz based on two imaginary elements, namely simile and metaphor. To express his feelings, the poet chooses the most general element of imagination, namely metaphor, and uses metaphor in some of his poetic subjects. In this research, three love poems were studied and the evolution of the image from the fourth to the eighth century was studied. Then the differences and similarities were analyzed. According to the studies done and the study of the subject and images of the stories, it has been concluded that each of the poets has created images according to their surroundings and in the field of illustration in the two systems of Weiss and Ramin with 40% and Gol and Nowruz with 35 The percentage of the element of nature is the largest part of the poem and in Khosroshirin the elements of the feast with 26% are the highest part of the poetic images. In terms of the use of imaginary elements, the poet in Weiss and Ramin has used the element of simile more and the other two poets have used metaphor, and perhaps this is the more beautiful and pictorial reason of Khosrow, Shirin and Weiss Varamin.

The word "Imagination" has been introduced in different meanings in different sciences. Imagination is one of the special abilities of human beings, which includes a significant field in Islamic philosophy and wisdom. And can play an important role in the analysis, cognition and creation of many phenomena; To guide man to the land of the unknown and truths with imagination and mental abilities.Also, in relation to the subject of the place of research, many different psychological, phenomenological, etc. angles have been done;Place is the mathematical space that has meaning. The place derives its identity and validity from the meanings and concepts that the observer and its user cultivate in their minds. These concepts include several factors such as: physical and physical factors of the place, human behaviors formed in it and finally the mental events of observers and users. Imagination is one of the most important human abilities that with its abilities, it can create many mental events in order to identify the place. In connection with the word "fantasy" in philosophy, valuable topics can be found in various ways. It has been researched with various approaches such as Eastern and Western views as well as views of various religious sources and sciences. Man's presence in space, his data and sensory perceptions, his experience of space, his fantasies and imagination, his presuppositions and presuppositions, and even his mental myths and legends are discussed. By examining the past works of architecture and urban planning, one can see the traces of the manifestation of the world of illusion and imagination in works of art.in this study, the "Domnareh" mosque from the valuable and old buildings of the Afshari period in the ancient city of Saqez was selected as a case study in relation to the subject of research and was analyzed and evaluated.In this article, we want to answer the following questions: What is the role of imagination and fantasy in identifying and giving meaning to a place? And to what extent can the imaginative minds of designers before design, and users after execution, be effective in giving meaning to a place?The purpose of this study is to investigate the role of "imagination" in identifying space in architecture. The research method is mixed. The number of samples in the qualitative section is 15 articles and 9 experts in urban architecture and experts were selected from the method of targeted sampling of resources and snowballs. Samples were selected in the quantitative part for the Demetel technique based on the snowball method. For interpretation in the qualitative part, the content analysis method was used to extract the themes from MAXQDA12 software. In a small part of the Demitel technique, Excell software was used. The results showed that the place derives its identity and validity from the meanings and concepts that the observer and its user cultivate in the mind. Imagination is one of the most important human capabilities that with its abilities, it can create many mental events in order to identify the place.

The issue of how the process of creating and perceiving architectural works and the factors affecting it is an important, multidimensional and interdisciplinary category. However, at present, the process of formation of architectural works in most studies is based on superficial perceptions of human perception and at best depends on the five human senses and, of course, usually limited to some of them. Therefore, it is necessary to address the aspects of this issue from the perspective of anthropological sciences (knowledge of his powers and perceptual tools), ontology (knowledge of the levels of existence) and psychology of the environment (study of the relationship between man and the environment). The present study intends to investigate how the stages of the process of creating and perceiving architectural works are formed by focusing on the esoteric forces, especially "memory" and "imagination" of the architect, and by redefining the stages of analysis, composition and evaluation in this process with a new look. Examine the direct and indirect effects on the quality of formation and realization of these steps. The theoretical basis of this research is the principles of transcendent wisdom and to do it, the strategy of logical reasoning has been used. In the data collection stage, documentary and library studies have been used, and in the later stages, the deductive reasoning method has been used. The results of this research show that architecture, like other human actions, is influenced by the material and spiritual context of growth (lived experience) and the architectchr('39')s perceptions during his lifetime until the moment of creating the work. On the one hand, the architect is influenced by his memory (treasury of meanings) and imagination (treasury of faces) that the dough will be the source of his ideas, and on the other hand, by his actions, ethics and temperament, a level for his rational soul, which is the origin and creator of his actions. , And of course the order of the soul also plays an important role in the efficiency of memory and imagination in human beings because the meanings and forms stored in them are the result of his level of interaction with the worlds. This approach can also pave the way for change in architecture education and training architects . Because it emphasizes that the architect must first go through the arc of ascending epistemology in his being and then try to create in the arc of the descent of the creation of the architectural work.

One of those who established the theory of imagination in the Romantic period, is Samuel Coleridge. He claims that the spiritual nature of man is an investigator in her imagination. He has been the difference between imagination and fancy. According to her theory, In the imagination exists an divine nature. This article whit descriptive-analytic method seeks to clarify the theory of Coleridge, and to answer the question of What is the relationship between imagination and religious symbolism? In Coleridge's theory, the act of thinking is not possible without an intermediate faculty. This force is imagination. this force, like the shapeshifter god, attempts to give thought in the highest form, in the form of symbols. As a result, creative imagination is like the work of God. Although the artist can only represent the infinite and unlimited. through symbolism in a limited range. Coleridge earned this doctrine from the Bible. He has been representing the spiritual direction.

Addison’s aesthetic theory is expressed in the pleasures of imagination with focusing on aesthetic perception. Addison’s aesthetic theory is an important attainment of the early Enlightenment in introducing the significance of the faculty of the imagination. In this theory, Addison wants to defend from imagination against those who did not consider any important role for it, like Descartes. He considers a cognitive and spiritual function for imagination. The pleasure of imagination is not necessarily independent of other sources of pleasure in human life. That is, he did not separate the different pleasures like Kant. The imagination enhances other sources of pleasure in life, because it has no cost, that is, without the cost of ownership and without costs of everyday experiences. The pleasures of imagination either through direct seeing of objects or facts, or through seeing and perceiving their representations in various artistic genres such as painting, sculpture, and literary descriptions that they are presented in different forms by the authors. Imagination give us a form power in order to combine and to create images and scenarios. Thus a man can entertain and enjoy even in his/her own loneliness. The primary pleasures of imagination are achieved from the perception of natural objects and man-made objects. Secondary pleasures of imagination are achieved from the perception of representations in the artworks. The pleasures of imagination can be caused by exposure to greatness, beauty and harmony. But art has a special facility that it is same novelty. Art can be ahead of nature and can be the agent of an agreeable surprise. Since beauty is related to form, it has the least connection with the cognitive interests and human actions, and thus it provides the most autonomous pleasure of imagination that the mind does not consider in its confirmation other than the elements and parts of the form that are perceived at the moment of being seen. Thus the perception of beauty is due to the power of imagination. For him, greatness has an effective role in the active of imagination. For him, pleasure is one mental ability. If someone does not enjoy it, it's because of weakness his/her imagination and the eye of his/her mind is closed. This view about beauty and art tells us that objective view will gradually go away and subjective view will emerge. Our goal is in the research that don’t ignore Addison's contribution in this transition. Kant is raised many of his ideas for example disinterested attitude and the superiority of natural beauty. Addison’s thought extends throughout the 18th century in Kant’s thought and the movement of Romanticism. His influence is observed especially in his emphasis on the visual adjustment of the imagination, the exposing of mental visibility at the very center of all aesthetic experience. In this paper, by means of library method data are collected and then are described and analyzed in order to be clear the abilities of imagination in the face of nature and art, then what is the relationship between natural and artistic beauty?

In Islamic thought, imagination has a special importance and place in artistic creation. The nature of imagination has created such opportunity to realize this fact the each spiritual affair to be imagined should occur partially and tangibly in imagination. In fact, the imagination is the interface between meaning and material and its images, on one hand, are similar to the matter and on the other hand, are separated from the body and spirit. With regards to such nature and capability of this power, using the imagination in the creation of valuable art and architecture is highly effective. The artist, like all other human beings, enjoys all aspects of perception, but uses his imaginative perception in artistic creation more than others. The artist expresses his mental concept, within the words or images or changes them into the sound, or makes it with brick and stone. In all of these creations, what the sacred artist creates in his mind is free of sense and the physical world. Even, when he recreates the nature in his works, it is not the same as nature, but his imagination and creativity power are reflected in his work. What is formed in the artist’s mind is partial with an image and hence is in the imaginative perception area. For this reason, what is created by artist is fully dependent on his imaginative power.  Like other arts, meaning in Islamic architecture is a fundamental and necessary concept which visualizes an imagination of the meaning world in a matter world by physical and non-physical factors. But, despite the critical role of meaning, current studies have not discussed such issue. In fact, the architect perceives the real world, but in his creation, he does not only imitate, but tries to manifest that fact. Hence, he starts recognition from the matter, but the more he progress, he makes his recognition deeper, separates from the mater and achieves the concepts and rationales. This process occurs in imagination world which is separated from the real world and the wisdom world perception is attained. The present study aims at explaining the imagination position as the interface for manifestation of meanings in architecture design and its role in architecture design process. In this research, the background related to the imagination in Islamic thought in areas of imagination world and its steps, imaginative perception and sacred art and creation are investigated. By descriptive – analytic method focusing on the rational inference and reasoning, this study deals with the data and collected materials. To start the design from meaning area, it is necessary to take areas of meaning into account. Meaning area in architecture is the same as the mental concepts of designers which is related to the culture, innate feelings and values of designer. Therefore, starting the design from the architectural qualities like life and presence in space paves the way to achieve the ideas with meaning substance. Trend of meaning manifestation in architectural works (architectural space and form) is made with the help of imagination. Accordingly, each concept or meaning should initially takes and imaginative aspect to become evident in the real and tangible world. Meaning comes from the designer’s entity and the imaginative images of meaning are manifested in architectural space and form. Enjoying the meaning movement is design process is: paying attention and achieving the concepts and meanings (meaning), transforming these meanings into the intellectual images and ideas creation (imagination), recreation of these images in tan bilge world while conforming with both the imagination world and limitations of tangible world (architecture work). Movement of the meaning of the tangible is understood by artist and movement of the tangible to meaning by the audience. For this reason, artist and audience, communicate through affecting each other.

The paper focuses on the design subject. The matter of what is design and how it is work has always been the concern of theorists and researchers. In the meantime, it is a significant issue that rather than the existence of a single theory, we have a variety of views and context of the attitude. When uncertainty arises, we are confronted with a phenomenon that is not linear and cannot be perceived just through the logic. Some find metaphysical aspects, some have examined unconscious from the psychological point of view and others have a mystical look at the issue. As a designer and audience, this unknown aspect of design can be mysterious, stimulant, frightening, or enjoyable. Design as creativity arises from designer’s individual physical and mental world, it is created by imagination, measured by science, and once again returns to the imagination. A set of internal and external components is involved in design. Recognizing this design space and its transformation is what matters to us. An approach is process-centered. In addition to studies on the characteristics of physical space, mental space’s characteristics are also should be studied. We consider this mental space to be the same as the imaginary space of the designer. Direct access to the imagination mechanism is impossible, but we can try to explain its effectiveness on the structural levels. The research method is a synthesis of narrative and hermeneutic-phenomenological analysis.it is process-oriented and focuses on the design process. The research is based on a set of connections and interactions. creativity should be relying on the imagination. It is a lovely escape with no limits. in imagination, everything is possible. It is an experience of freedom. Everyone’s having a unique imaginary space that is quite different from others. A series of individual elements forms the characteristics of this space. in a design process, designer flows in continuous transition between this imaginative space and physical space.

Among movies that considered «dream», "Inception" got a notable fortune. The film, written and directed by Christopher Nolan, has been the source of many academic discussions around the world as well as having won many credible film awards. On the other side, Ibn Arabi, who has referred to him as the designer and theorist of theoretical mysticism, systematically has explained this subject based on challenging ideas. Is there any significant link between the film and the Ibn Arabi’s thought? This study tries to identify the mutual points in the movie and Ibn Arabi’s ideas. Superficial similarities have been less considered in this paper and we try to focus only on deeper correspondences. Accordingly, based on descriptive -comparative method, three main axes have been considered, and the film has been interpreted based on them. Ibn Arabi and Nolan, ignore the conventional difference between dream and reality in their works, and present a new definition for these two concepts. In their view, merely knowing the science of interpretation is not enough to properly understand a dream, but recognizing the real state of dream and reality is determiner. They also show that the dream has a degree of creativity that can lead to creation in the world. What is ultimately found in this article is the triple relationship that leads us to the result that Ibn Arabi’s thoughts and «Inception» have serious points of correspondence on the subject of dream. And this is more considerable due to the time and cultural difference between Ibn Arabi and the film’s author.

If one looks with the eye of discernment upon the extremely varied manifestations of Islamic art over vast expanses of space and time, the question arises as to the source of the unifying principles of this art. What is the origin of this art and the nature of this unifying principle whose dazzling effect can hardly be denied? The question of the origin of Islamic art and the nature of the forces and principles which brought this art into being must therefore be related to the world view of Islam itself, to the Islamic revelation, one of whose radiations is directly the sacred art of Islam and indirectly the whole of Islamic art. there is an inner nexus between Islamic architecture and Islamic cosmology and angelology. The Islamic cosmos is based on the emphasis upon God as the Unique Origin of all beings, on the hierarchy of existence which relies upon the One and is ordered by His Command, on the levels of existence which relate matter to the subtle world, the subtle world to the angelic, the angelic to the archangelic, the archangelic to the Spirit or al-ruh and the Spirit to God's primordial creative act. This cosmos is based on order and harmony which is more than the result of the direct manifestation of the One in the many. By examining the past works of architecture and urbanization, we can see the traces of the manifestation of the imaginary universe in the artwork. One of the examples for these works are Safavid dynasty monuments, such as Imam's mosque in Isfahan, which is an example of the application and expression of the other world in architecture. Iranian-Islamic culture and knowledge are a rich treasure of the principles and Criterions in all social, economic, cultural and other fields of life. By Looking at Islamic history and civilization, we can always find the reflection of religious and cultural ideas in all aspects of life, including architecture and urbanization. However, one of the issues that is less contemplated in contemporary urbanism, which has led to an identity crisis in the present era, is to provide an opportunity to combine the art of designing urban spaces with Islamic spirituality and art. this kind of art can illustrate the example of the other world by revealing the signs of world of imagination on earth and always point out the beliefs of the people. Hence, the present study aims to derive the applied principles from among these theories. at first we have discussed and categorized theories related to the subject of perception, the imaginary world and the imagination. these theories have been brought up from the point of view of the Islamic Philosophers and Theorists. then it has been examined how these principles are applied in the Iranian-Islamic urban design. The present paper has a qualitative approach and the research is based on "interpretiveism" paradigm. The research method is "analytical-comparative" and it tries to transform fundamental ideas into applied theories. In this regard, in order to clarify the subject, the Qibla Square of Mashhad has also been selected as a case study and finally, a design framework has been developed. The research results show that the universe of imagination and its manifestations have always been considered in the views of great Philosophers; and its appearance in urban spaces can be expressed as different kind of elements, which most notably are light and geometry. For this purpose, one of the most important principles in the world of imagination is "duality", which is based on the four principles of "light and darkness", "inside and outside", "motion and motionless" and "symmetry and asymmetry". These principles are presented in a comparative manner with urban qualities in the form of "hierarchy, unity while plurality, emphasis, contrast, parity, balance, proportions, integrity, and inclusiveness, etc", as well as the solutions below each.

Although the problem of art has not been addressed to Ibn 'Arabi in the present form and not in the center of his thought, his ontological and anthropological issues can be derived from the coherent foundation in this regard, and we can understand the artistic issues in the light of it. The meaning of Art or its benefits, although not explicitly mentioned in the works of Ibn Arabi, and there is no independent discussion of them in the great writings of Sheikh Akbar, but we can find useful tips about it from Ibn Arabi's theoretical foundations, and receive the main lines of his look at these matters. In this article, we intend to use the theory of manifestation to explain the art and its benefits and to clarify some of the main themes of Ibn 'Arabi's view of art. Therefore, at first, we examine the three different aspects of man in manifestation theory, and then, by explaining the basic concepts of Ibn Arabi's anthropology such as the heart, we show that the art is a comprehensive manifestation.

Coffee house painting that is among few remained folk arts in Iran was originated from the public national and religious attitudes in Qajar era. These paintings are supported by the imagination and the myth, which are rooted in the intellectual talent and the collective spirit. The imagination constitutes the formal motif of the paintings as well as national and religious myths constitute the content motifs of the works, which are rooted in the Iranian rich culture and collective spirit. Coffee house painting that was founded by the artists who didn’t go to the school was according to the imagination and myth-oriented bases somehow the painters called this style as imagination-drawing and stated that its relationship with the imagination was the source of creating their works. Myth-oriented (drawing the national and religious myths) is also considered as one of the important elements of this art and the confrontation between the good and evil forces forms its main concept; these contrasting manifestations are hidden in the unconscious ego of the artist who didn’t go to the school and can be decoded by Gillbert Durand’s nocturnal regime and diurnal regime theory. Gillbert Durand knows that these conflicting manifestations are related to the unconscious ego of the human and his fear of the unknown death universe that is imposed by the time on the human; this case can be examined about the artists who were drawing the pictures in terms of their imagination and were painting their imagination without education spontaneously. This is a research based on the descriptive and analytical studies of the imagination and myth manifestations in the coffee shop painting; this was started by introducing the scope of the imagination, myth and Gilbert Durand’s theory and this important research has been conducted by the library studies, collecting the books and the articles and translating the essays. This paper tries to investigate the place of the imagination and the myth as well as the effective roles of the imagination and myth-making elements in the coffee house painting according to Gillbert Durand’s nocturnal regime and diurnal regime theory and by a documentary and library method. The results of this research indicate that the artists with the coffee house style drew the personal fear (fear of death) and the collective unconscious egos of their compatriots with the help of the imagination and its creativity power as well as with the assistance of myth-making and drew the contrasting elements against the fear simultaneously.

During 100 years of the cinema history too many poetic and artistic movies have been made based on visual, dreamlike and different world especially against the real world. These movies tend to deconstruct and to break the norms a process known as defamiliarization. This cinema is based on intuitions. The content and structural functions of the artistic cinema are to make questions and to stimulate audiences to contemplate. Therefore, documentary and storyboard movies of this kind are not the pure reflection of the reality and they discover the facts beyond the common life, nature and universe. Hence, we may use hermeneutical criticism, philosophical criticism, typology and linguistics to understand this type of cinema. This cinema is based on visual language and the dialogues has main role in it. The artistic, poetic cinema’s admirable efforts are about innovation, breaking the norms, empiricism, deconstruction, and including philosophical illuminating massages and concepts (in the vast and the positive way). Darren Aronofsky used the world of dreams, myth, legends, and rituals as the sources of inspiration in poetic, artistic movie “The Fountain”. Love, beauty, worship of life, glory of nature, redemption, the criticism of violence, ontology, showing the pains and happiness and feelings of the human being are the content and the idea of this movie; moreover, this film includes the philosophical, theosophical, anthropological, psychological, mythological, and allegorical substrata.