One of the most important tasks in esthetic dentistry is creating harmonious proportions between the width of maxillary anterior teeth when restoring or replacing these teeth. The concept of golden proportion is a main guideline, introduced in this field. Since smile is the best judgement for assessment of dentofacial esthetics in practice, this study aimed to investigate the existence of the golden proportion in individuals having esthetic smiles. Method & Materials: This descriptive study with sequential sampling has been conducted with 157 dental students (75 women and 82 men) with ages ranging from 18 to 30. The students whose smiles in normal situation didn’t develop visual tension with regard of study’s criteria and their own criteria were selected as individuals having esthetic smile. An image measurements program (Dimaxis 2.3.1, Planmeca, Finland) was used to measure the apparent mesiodistal width of 6 maxillary anterior teeth on the scanned photographs of these subjects. The existence of the golden proportion was investigated in the width ratios of maxillary anterior teeth. Then the existence of the golden proportion was investigated within the Preston’s range in the individual who had completely aligned maxillary anterior teeth. Finally, the existence of the golden proportion in maxillary anterior teeth was determined according to gender statistically with χ2 scores. The golden proportion of 0.6 within the 0.55-0.64 range, and 0.62 within the Preston’s range (0.61-0.63) was not found to exist between perceived maxillary anterior teeth width of individuals having esthetic smiles. Alignment of the maxillary anterior teeth or gender did not affect the existence of the golden proportion. Golden proportion don’t exist as a common factor in esthetic smile and can not be used as a constant proportion to create harmonious proportion between the widths of maxillary anterior teeth.

This essay, as its title signifies, deals with the relationship between two terms and fields in Qajar age: on one hand, the term “constitutionalism” which often used in the field of contemporary “politics” of Iran, and the field of “aesthetics” on the other hand.“aesthetics”, in Kant 's view, means a system of a priori forms which defines what would expose itself to sensible experience.In our method, “aesthetics”, in its broad sense, refers to the distribution of the sensible that determines a mode of articulation between forms of action, production, perception, and thought. This general definition extends aesthetics beyond the strict realm of art to include the conceptual coordinates and modes of visibility operative in the political domain. These a priori forms are not anymore the condition of truth and legitimacy of statements (in Kantian way). But they are historical conditions that make some formations visible. In other words, these a priori forms denote the relation between saying, listening, and seeing, and determine what is visible and what is invisible in a certain period. There is thus an ‘aesthetics’ at the core of politics.“aesthetic constitutionalism” is an aesthetic revolution which occur in Qajar age before political constitutionalism, through pictorial practices that perform by photos and images. It ruptures the relation of King-form with the tradition, and exposes a new definition of the relationship between the visible and the stateable, sayable and seeable. We follow philosophical insights which Michel Foucault and Jacque Ranciere introduce to historiography. They provide theoretical framework to think politics as a priori condition for aesthetic experience. Especially “Politics of Aesthetics: the distribution of the sensible” by Ranciere and “Archeology of Knowledge” by Foucault are our basic resources. From this point of view, we can survey the entry of photography to Iran and conversions it afford as political practices. Photographes, by their pictorial practices, multiplies the body of king and thus undo his oneness and originality. On the other hand, camera' s eyes are indifference to reign's hierarchy, unlike painter-tradition' s eyes which read the relation between the king and his around as relation of the head and body, and try to paint him as an original and disembodied. By the pictorial practices we refer to that kinds of acts that images perform.How do images act?They say nothing, but they do something. In other words, if these images do something, they do that not through what they say or represent. Photography multiplied and reproduces the king's body, and allows no difference between his body and the things around. This is a kind of aesthetic equality which photography performs for the first time, and thus challenges the relationship between the king and tradition based on his divinity and excellency. We call these pictorial practices“aesthetic constitutionalism”since they faced the king with limits of his power, hence he discovers that “my” power is limited and it is conditioned with“the other”. Thus the aesthetic constitutionalism had happened before what historiographies called “constitutionalist revolution”, and plays a mediator role for it, and you might say, predicates it.

Introduction. Nowadays dental implants are accepted as a successful replacement of conventional fixed and removable prosthesis which can restore esthetics in an ideal way. Because of visibility of anterior teeth while smiling and speaking, the importance of esthetics in these areas is very important. In this research, the provision rate of esthetic indexes of crowns supported with swiss- plus implants is assessed, also overall patient satisfaction is evaluated.Methods. The study was done on 21 patients who were treated with 30 implant supported crowns and the variables: clinical crown length, crown width, faciolingual dimention of crown, contact point position, soft tissue margin level and papilla index, crown color, abutment visibility and patient satisfaction range were assessed. Differences in variables between two groups were analyzed using the paired t- test. A wilcoxon signed rank test was used in analysis of differences in papilla index score.Results. The average amount indexes in implant-supported crowns and natural teeth in arrangement were: clinical crown length 10.05mm and 9.35mm, crown width 7.36mm and 7.33mm, faciolingual dimension 6.67mm and 7.72mm, mesial contact point position 36.20 and 32.86 percent, distal contact point position 50.86 and 41.76 percent, soft tissue margin level -0.64mm and -0.15mm, papilla index in mesial 2.17mm and 2.60mm, papilla index in distal 2.10mm and 2.63mm. color of 24 crowns were similar to natural teeth and in one case abutment was visible. 95.2 percent of patients expressed satisfaction from esthetics of the crowns (60 percent complete satisfaction and 40 percent partial satisfaction).Discussion. In comparison to the natural teeth, The crowns 1 were longer 2 had smaller faciolingual width 3 had more apically soft tissue margin level 4 had lower scores of papilla index. No significant statistically differences were observed in mesiodistal width and contact point position between two groups.

This study was performed to assess common factors involued in esthetic smile detemilation using anterior component of dentition in a group of dental students.Methods & Materials: This descriptive study was carried out using a sequential sampling technique. A group of 157 students (75 females with 82 males) were selected who were considered with normal smile. Attempts were made to avoid including individuals with any visual tention inrelation to the student or study criteria. Factors assessed were: lip line, smile line, upper lip curvature, tooth visibility, negative space and gradation. Repeated and careful visual judgement were performed posed smile's photography feach individual. results indicated that the majority of lip lines were in the average 33.7% level of the natural criterial in esthetic smiles. Smile lines were convex at 96.8% of the cases white. Upper lip curvatures were upward in 55.4% 1.51 percent of the cases had their second premolar in tooth visibility limit. Gradation in bilateral form was present in 87.3% of the covers white bilateral negative spacewas present only in 54.1%.Only two factors of lip line (P<0.002) and tooth visibility (P<0.005) presented statistically significant differences between men and women. Parallelism of smile line with upper curvature of lower lip and gradation are the two more frequent factors in esthetic smile. The field of unity and variety in factors studied in esthetic smiles and gender differences suggest that these factors must be evaluated before designing anterior restorations.

  Higher education is considered a key component in the education system and human resources development in any country. Special educational needs are different in different age groups, which determines the special logic of the educational process in higher education. Since the higher education system is responsible for the important task of training specialized human resources, it is necessary to use appropriate, precise and systematic methods in the design, implementation and evaluation of its activities. This research seeks to design and validate the integrated model of curriculum components and aesthetic education in higher education. The main goal is to achieve components of aesthetics that can be used in the university curriculum along with other curriculum components from the field of humanities. For this purpose, these components were extracted from the literature sources of curriculum studies, the opinion of experts in this field, as well as the opinion of experts in the field of art and aesthetics, and after the consensus of opinion and the possibility of using them by the state universities of Khuzestan province, those components were used in the design of the proposed model. and then the proposed model was validated. The findings of the research showed that art and aesthetics as a perspective and paradigm in the curriculum contains many components, inspirations and components. These components can be used in the design, development and implementation of curricula, focusing on the important components of the curriculum such as goal, content, method and evaluation.

The discussion on the Romantic Art for philosophers has been challenging. Hegel as a Idealist German philosopher in traditional philosophy, since examining the special approach to Romantic Art analysis, has made most of thinker after him ponder on Hegelian genius points of view due to the importance of matters in his thoughts. The discussion on the Romantic Art for philosophers has been challenging. Hegel as a Idealist German philosopher in traditional philosophy, since examining the special approach to Romantic Art analysis, has made most of thinker after him ponder on Hegelian genius points of view due to the importance of matters in his thoughts.Hegel is well known by the book “Phenomenology of Soul and Logical Science” but he didnt publish anything independently on Aesthetics. This doesn’t mean that he had been regardless to Art and Aesthetics. Indeed, the Aesthetic theory of Hegel arises from the center of philosophical systems which could introduce a landscape of it. The main theme of Hegel’s thought is the relation between infinite and finite; Hegel solution this problem by dialectic method. The Hegelian dialectic has a special character, for example; one of its characters is dynamic being. According to Hegelian thought, in the Whole of the being World, we can see this dynamic aspect is in Romantic Art specially music. The music is an abstract matter the same as Hegelian Logical Idea. As the Romantic Art has been separated of social faction, it is an acceptable and the most fundamental reason that music must be abstract. This abstraction links music to Logical Idea. The usages of music example help Hegel to explain the motion of thought in Logic. The music can explain spiritual and inner life which is considered by romantic thinkers, so it is better than painting. The music moves in time the same as subjective life. Music and symphony were so outstanding in Germany and France at that time. Goethe, Hugo, Holderline, schilling and schiller and etc. were romantic; but Hegel neglected literature and painting and concentrated on music. The cause of this regard is the nature of music. Music is somatic and doesn’t have a material, it is invisible like soul when the absolute soul wanted to appear in sculpture but it couldn’t reflect the soul. The music is the melody of the lack of soul. Soul has understood that arts are not its statements. Then, the music is the best Art in modern period. The trace of romantic music is in Hegelian dialectical logic because Hegel’s logic is movement in logic. It is planned for demonstrating conceptual anti theses who normal logic considers it as a stable and permanent principle. In deed, the manner of Hegel in description of human soul is a correct and direct explanation from romantic view. In this description, he explains how the absolute soul transforms from a higher stage and is unquiet in every stage. This article considers the relation between music and absolute logical Idea. The author tries to examine this relationship by analytical-descriptive method.

Contrary to modern aesthetics, in Plato beauty is related to being. So, the essence of beauty should be envisaged in relation to being. For instance, beauty in Phaedrus is defined as radiation or splendor of the Good. From this follows that beauty is objective reality: a beautiful thing is not beautiful because one judges it to be so; it is beautiful in itself, independently of human mind.The aim of this paper is to examine the relationship between beauty and being in Symposium and Phaedrus.

The eternal and permanent art works mostly have been created in unconsciousness and involuntary moments. Whereas the basis of the creation of existence as evidenced by this Quranic verse “His command, when he intends anything, is only to say to it: be, so it is (Ya-Seen, 82)” has been destined out of the compass of tense, place, means, and media; undoubtedly, art works are the result of a kind of inner revelation and illumination of the talented. The first question that made author’s mind busy was the meaning of “grace” in Mowlana’s view. What is Mowlana, Kant and Socrate’ definition of grace? What is the difference in the viewpoint of Plato, Mowlana and Kant about the creation and sourse of beauty? According to two different theories of aesthetics, i.e. subjectivism, objectivism, are beauty and art related to morality? The kind of relation among these three subjects confirmed subjectivism and objectivism depending on the fact that whether its nobility belonged to the literary and art work or to its creator and audience. Seeking aesthetical reasons in Mowlana’s poems was another part of the paper. Orators considered unity along with repetition and variety as the most important criteria of aesthetics. How the phenomena of multiplicity within unity and unity within repetition appear in Mowlana’s poems? Which one of the two theories of subjectivism and objectivism matches with Mowlana’s two masterpieces?