نشریه بنیان های حکمی - فلسفی هنر ایرانی
سال دوم شماره 3 (پیاپی 5، پاییز 1402)

The term 'industry' now signifies art in today's common understanding. Historically, 'industry' was employed in a broader sense rather than referring to art, and it underwent analysis and scrutiny by thinkers. For instance, in literary texts, it was depicted as a virtue, and in Islamic wisdom and Sufism, it was denoted as a profession imbued with sanctity, encompassing both physical and spiritual dimensions. Each Islamic sage and philosopher interpreted it similarly, leading them to view the creation of artificial works from a spiritual perspective. Undoubtedly, the primary source of discussions on industry, including the views of pre-Socratic critics, can be traced back to Greek sources. Qutb al-Din is undeniably indebted to these profound ideas within the realms of philosophy, ethics, and spirituality. This study, utilizing a descriptive-analytical approach, seeks to address the following questions: What is the relationship between industry and art in Qutbuddin's works? How does Qutbuddin's conception of industry differ from the contemporary understanding of art? The findings indicate that Qutbuddin's industry was associated with a profession, with a broad application, and he approached it from a perspective of spiritual conduct. According to this sage, the concept of art differs significantly from its contemporary interpretation. Allameh's classification of industries acknowledges that they all stem from knowledge, emphasizing that one lacking manufacturing knowledge would be unable to produce industries.

The purpose of this research is to explain the role of the Islamic form and its relationship with meaning in Islamic art, from the perspective of thinkers in this field by citing examples of architecture in the Islamic era. In this qualitative research, the possibilities of form in the excellence of Islamic art, beauty criteria from the perspective of Islamic sages, and considering the formal elements in the architecture of the Tabatabaei family's house were described and analyzed. The results of this research can be summarized as follows; from the point of view of known Islamic philosophers, the importance of the form in the excellence of Islamic art is that the audience approaches the spiritual experience through this art. In comparing the position of the form in Islamic aesthetics with the concept of form in Western aesthetic thinking, it is evident that the role of the Islamic form is in discovering and recognizing mysteries in the phenomena, and the importance of this role can only be identified in the connection between the form and its meaning. Islamic formal elements such as centrism and geometry, symbol and code, light and color, and abstraction have clear evidence in artistic works such as carpet art, painting, calligraphy, and architecture in the Islamic era. In a case study of the Tabatabaei house, elements such as center and geometry, code and symbol, color and light, and abstraction connect sublime concepts such as unity, goodness, perfection, and beauty.

Unlike other religions and professions that focus solely on either individual or social dimensions, Islam uniquely emphasizes both aspects, providing instructions for the enhancement of both individual well-being and social interactions. This comprehensive approach has earned Islam the recognition of being the most complete of religions, establishing it as an individual-social belief system. In accordance with its teachings, a person who does not actively engage in society may not fully realize the goals of the religion. Since the development of social personality occurs within society and through interactions with others, this research utilizes the native Qajar housing of Isfahan as an introverted model that complicates the dynamics of presence and sociability. Through the syntax method, the study analyzes the spatial configuration, examining how it influences vitality, a sense of belonging, the creation of social identity, and the enhancement of presence. The results reveal a significant difference in the value of choice and control within the courtyard, despite its central placement, which can enhance depth and privacy. This distinct quality positions the courtyard as the most accessible space, shaping perceptions of its significance within the overall spatial arrangement.

Creating effective educational environments for children necessitates the utilization of innovative and dynamic spaces that foster their talents and creativity. The design of such spaces is a paramount concern in children's education. Empowering children to articulate their preferences in educational settings can significantly contribute to the architectural design process, resulting in more suitable learning environments. This study explores the architectural elements of collaborative educational spaces from the perspective of preschool children. A total of 212 randomly selected children from across the country participated in the "Anna P. Taylor" educational program, emphasizing a cooperative approach. The study identifies and analyzes essential architectural components required for the development of collaborative educational environments tailored for preschool children, including considerations related to space quality, style, lighting, colors, sounds, and materials. The research employs content analysis, questionnaires, student interviews, crafts, and paintings to scrutinize these components. The findings underscore the significance of color, texture, materials, geometric shapes, volumes, and design approaches in the eyes of children. These factors are categorized as internal and external architectural elements within educational spaces, and the insights gained from this research can guide educational space designers in catering to children's needs. This, in turn, facilitates enhanced learning experiences and the creation of more engaging and efficient spaces for young learners.

Excessive consumerism leads to the manifestation of architectural works that can be confusing, often diverting attention from the importance of structures and the context of realizing a work or the vitality of a cultural and artistic movement in society. Therefore, the main aim of the present research is to elucidate the role of the display-oriented society in shaping the architecture of residential buildings in Region 1 of Tehran (from 2008 to 2018). The research methodology is qualitative-quantitative, and the research strategy is descriptive-analytical. Data collection is conducted through library and field studies. The display of architecture manifested through elements, design types, building facades, decorations, and overall structures, is apparent in the residential buildings of Region 1 in Tehran. This is evident through decorative additions on facades, large and unidirectional windows, lighting types, and color combinations, accompanied by curved forms, and most importantly, high-rise constructions. These factors, together, have transformed the residential buildings in Region 1 of Tehran into one of the most affluent areas, significantly elevating property values in this area. The results of the research indicate that contemporary residential buildings in Region 1 of Tehran, particularly during the years from 2011 to the present, have adopted a prominent ornamental aspect. Without alignment with Iranian identity and culture, these buildings have transformed these areas, heavily relying on elements such as decorations and modern forms. They are highly consumer-oriented, aligning mainly with the tastes of the client and the architect. Therefore, residential buildings in this area are intensely consumer-oriented and have, to some extent, taken shape solely due to consumerism.

Nowadays, in contemporary tombs, the consideration of identity-building components in Islamic Iranian architecture has been forgotten. In such a way, the tombs of contemporary Iran have turned into meaningless places. Therefore, the research aims to explain the identity components of Iranian architecture in the tombs of Hafez in the Metaverse era. The research question is how to quantify and understand the identity components of Iranian architecture in the tombs of Iran in the Metaverse era. In this regard, the descriptive-analytical research method has been used, and the method of collecting information is through library studies. The results showed that in the age of the metaverse, which is based on virtual realities and the virtual world, components such as real presence, interaction, stability, transcendence, and low cost can revive the identity-building components of Iranian architecture in today's tombs. Considering that the metaverse era manifests modernity in the virtual world, the combination of traditional and modern physical elements in form, materials, and geometry can be appropriate when simulating. Additionally, the use of environmental and climatic patterns, such as the garden and pavilion pattern, the five elements of nature, and attention to the region's climate, can lead to economic savings while maintaining sustainability.