فصلنامه الهیات هنر
پیاپی 22 (پاییز و زمستان 1401)

One of the most challenging issues regarding cinematic works, from the past until now, is how the authors or creators of these works are determined and chosen within the legal framework of intellectual property, especially considering multiple people involving in the process of their production such as producers, directors, screenwriters, and composers. Moreover, another debated topic among countries in this field is the issue of the original owner of the cinematic works, which is particularly significant due to the high cost of their production and the need for financial investment by parties other than the creators themselves, namely producers.Thus, using an analytical-descriptive-comparative method, I first examine the creator of cinematic works in terms of general characteristics of authorship in different legal systems, international documents, and Iranian laws relating to copyright. Second, taking into account the nature of cinematic work, I will determine the original owner of these works by using a comparative and foundational approach.The results of this research indicate that the original ownership in legal systems based on copyright law differs from the other legal systems following the rights of production; regardless of the nature of such works, the criteria, examples and approach used to determine the authorship are also very diverse in countries. In addition, despite the silence of the current Iran's copyright law of 1348 on the two mentioned issues, the Iranian legislator's draft law of 1393 has adopted a precise approach to cinematic works, following the French copyright system. Although this approach has some advantages, it can be criticized and does not align with the structure and frameworks of the current film industry in Iran.

Among the views available on the language of the Qur'an, symbolic or codified language has a long history. Belief in such a language is more widely used in Sufism and mysticism. They have used a mystical language to tell their mystical experiences and truths. This view is more prominent among commentators such as Ibn Arabi, Nasafi, and Gonabadi, especially in the verses of the story. The use of the Ramsay language in explaining the hidden references to the story of the Prophet Adam (pbuh) is particularly relevant in these interpretations. In the meantime, Adam is symbolized by the mind or heart, the symbol of the animal soul or soul, paradise as the human soul or soul, the heavenly tree against the real being, and the devil as the serpent or the fearful one. This descriptive-analytical research deals with the coded interpretations of Adam's story in mystical interpretations. The most important forms of sophistication in Sufi interpretations include: contradicting the Qur'an's guidance in symbolizing the rhetoric; ignoring seemingly rhetoric; disagreement in coding interpretations; From Sofia to others.

In today's era, aesthetics is considered a branch of philosophy in which, among issues; Like the origin of the work of art, knowledge of art, etc. are examined. Sadrul Matalhin, one of the prominent Islamic philosophers; It defines beauty as something admirable. According to him, the origin of art is some of the names of Almighty God, and imagination is the origin of almost all works of art. Sadra discusses the power of imagination in detail and considers it as a bridge between man and the separated world of imagination. Therefore, by using this platform, the artist brings his desired content, which is separated from imagination, to a sensory emergence.Heidegger, the great Western philosopher, analyzes art in a non-subjective phenomenology method and believes that things emerge in the act of understanding.And on this point of view, in the book Origin of the work of art, he criticizes scientific aesthetics in which he reduces art to sense and sensual pleasures. He considers art to be the only passage that can establish a relationship with existence and make the object fully emerge.Both thinkers have a cognitive view of aesthetics and art; They consider art as the platform for the emergence of existence and give it an epistemological code. In this article, we want to discuss the affinities and harmony of aesthetics in relation to truth and art, between these two influential thinkers.

Censorship or auditing of movies is a previous intervention of the government in the freedom of artistic expression, which applies the red line before the release of the work. This is what is applied in Iran after the victory of the Islamic Revolution by the Ministry of Culture and Islamic Guidance based on the regulation of monitoring film screenings and issuing their screening licenses approved by the Government Board in 1361. In this regulation, along with various political, cultural, social, ethical and religious audits; There is a type of inspection that can be called artistic inspection, according to its rules, it is forbidden to show films that lack technical value and are artistic because they lead the audience's taste to decadence and vulgarity. During this research, the aforementioned evaluation has been analyzed in the context of art concepts and its approaches, and the result shows that this evaluation, unlike other types which is content, considers the form and considers the artistic and cinematic values ​​of the work. A matter that has abandoned the identification of art through the artist and the artistic community and has chosen beauty: that is, an internal criterion and taste, and a choice that, in addition to choosing the prescriptive approach of art, is looking for a line to distinguish cinema from non-cinema. This basis is manifested in the meaningful and approved regulations of the Supreme Council of Cultural Revolution and the result is that the Ministry of Culture and its councils sit instead of critics and experts of cinema and the people. An endless road that opens the way for a wide and uncontrolled audit depending on the taste and policies of the ministry.

The political actions of the Safavid kings and the formalization of the Shia religion in this period created fundamental changes in the political, social and cultural fields. Due to these developments, the society's attitude towards the role of women in society changed, which has emerged in works of art, including painting. Ahsan al-Kebar is one of the Shiite illustrated manuscripts in the Safavid era, whose illustrations are based on the artist's vision and attitude towards religious teachings. In this research, 6 selected pictures from Ahsan-al-Kebar's manuscript, in which women played a role, are examined with the aim of identifying the image position of women in accordance with her social and religious status. The research method in this study is descriptive-analytical and the data were collected based on documentary studies. The findings show that the painter has depicted women's bodies according to their religious and social status; therefore, he depicted the holy women with white veils and in the picture of the marriage of Hazrat Fatima (S) and Hazrat Ali (AS), he even avoided depicting the blessed figure of the beloved daughter of the Prophet (S). In other paintings, women are depicted in a simple and unimpaired outfit and in a dignified state.

In the Middle Ages, in addition to the prevailing rationalism based on the defense of the Holy Scriptures, a new concept of the infinite emerged that, despite its supra-rational nature, gained extraordinary importance. This concept was able to equip the field of art, meaning beauty, with a method and principles that were expounded and left a lasting impact on the history of art by philosophers such as Plotinus, Saint Augustine, Dionysius, and Saint Aquinas. The common principles of these philosophers regarding beauty are rooted in ontology, referring to the origin of existence (God), and in phenomenology, with the consideration of three conditions in artistic works: proportion, harmony, and clarity (light-radiance), which have been determined as criteria for recognizing beauty. This article, using a library-analytical method, presents the common and agreed-upon conclusions of these philosophers regarding the definition of beauty and its criteriaKeywords: Divine philosophy characteristics, Plotinus, Saint Augustine, Dionysius, Saint Aquinas, beauty, light

Abdurrahman Jami, a mystic poet of the Persian language, has described and interpreted the mystical view of creation in his works, both poetry and prose. Habi Ibn Arabi's theory of motion created a revolution in the theories of creation. His students and followers elaborated and explained this view in their works. Sadr al-Din Qonavi and his students, such as Maulvi Jalal al-Din and Fakhr al-Din Iraqi, are commentators from this spectrum. According to these thinkers, Abdulrahman Jami worked to spread their ideas artistically. In this article, the author deals with the subject of the love movement in the descending arc and the ascending arc. In this regard, he has taken help from all the works of Jami. This research is descriptive and analytical and has been done with the library method and reference to first-hand documents. The result of the research showed that the form part of Jami's works is directed towards the arc of ascent and reconnecting to the general truth; Telling different stories and parables is just to clarify the different angles of this matter. Therefore, the totality of Jami's works is in line with multiplicity to unity, environment to center and bottom to top. The Seleucid path is the basis and complement of the existential path to meet the truth in the qualities of beauty.

There are common elements in the poems of Molavi and Gibran Khalil Gibran, which show the cultural and human commonalities of the two poets. In this article, in a library and descriptive analytical way, elements such as death and life, unity of existence, nature, love, music and listening, perfect human, God, conduct, mixing of good and bad, opposition of reasoning and illumination, words and speech, value of time and ... has been examined and the opinions of two poets have been extracted from their poems and compared. Rumi's and Gibran's intellectual commonalities are so much that despite the difference in language and regardless of thoughts, sometimes the words are also close to each other. The findings of the research show that Gibran and Rumi consider the whole universe to be alive because of that special monotheistic view and seeing God in everything. But discovering this truth requires reaching an enlightenment; An illumination that goes beyond geometric and dry reasoning and logic. In their eyes, all religions have their own value and there is a way to God from every heart. This view has deepened the moral virtues of these two poets; Both of them condemn blind imitation and consider worship for personal gain as the lowest level of worship. They warn a person from self-obsessions, they give respect to the present, regardless of the past and the future. Both of them consider music to polish the soul and recognize it as a noble tool for a person's conduct;

The art of calligraphy depends on aesthetic components that have changed over a long history, but these components are mixed with unstable formal rules. Calligraphy is a complex skill based on the rules of writing geometry, in which the importance of text and a comprehensive understanding of writing, the capabilities of the tool and the writing platform are discussed. Paying attention to each of these factors leads to the identification of a neglected aspect called fluid rules. This article takes a different look at identifying the fluidity of these rules to discover its hidden capabilities and capacities in the ranks of seeing, reading, understanding, enjoying with a special taste along with a new narrative. to be; So far, we have been faced with a kind of homogenization in the rules and principles in the evaluation of the works, and most of them have introduced the maximum observance of morphological rules along with a combination of visual beauty in the writing. In this article, the author has investigated the variety of shapes of lines from the perspective of form, character, practical and practical features, using descriptive-analytical method and using calligraphy letters and library sources. The result of this research is to know the formal capacities of lines and their capabilities in calligraphy, which can lead to the development of calligraphers and letter designers in renewing the dynamics of lines and producing mirror lines and blocking the flow of lines and fonts. destroy the new

Philosophical hermeneutics has tried to change the systematic problem of aesthetics to the question of artistic experience and to avoid reduction to the aesthetics of the subject. the metaphor of the play a prominent role In this effort. Unlike Gadamer, with the theory of appropriation, Ricoeur places all the possibilities of hermeneutics in the path of interpretation and self-understanding. Understanding occurs from the tension between distancing and self-understanding In other words, the interpretation of the text occurs in the self-interpretation of a subject who understands himself and his possibilities better after the interpretation. The purpose of appropriation is to give new capacities in a new scope for self-knowledge. Using the metaphor of the play, in addition to the transformation of the subject, he also prioritizes the transformation of reality and the author over the transformation of the subject. The metaphor of love also has a similar function in the transformation of the wayfarer and his world in Attar's mystical experience to approach the truth. Can the metaphor of love be equivalent to the metaphor of play (festival, celebration, ritual, mourning, dance, etc.)? Since the narrative of the experience of the love event has a much longer life than the event of the play and is more solid and concrete to understand the interpretation, can mystical love be considered equivalent to the hermeneutic play in the experience of the work of art? Comparing the two metaphors of love and play opens a way to better understand both in interpretation.

In the works of Khajavi Kermani, we always see the unpleasant and deceptive image of the world. This attitude is in line with what is seen in mystical schools; But what invites the audience to reconsider this attitude is the undeniable alignment that links the view expressed in Khajoo's works to the way the world is presented in Nahj al-Balaghah. What has been narrated about the world in Nahj al-Balaghah shows its rejection and condemnation by the pious Mawlawi, an attitude that has not been dealt with severely in the Qur'an, the holy book of Muslims, and of course this means a contradiction in the thought of Imam Ali (as). ) Is not with the teachings of the Qur'an; Rather, it is the necessity of social conditions that has led the Imam to write such a view. In this article, we try to compare the attitude of Ali (AS) in Nahj al-Balaghah with secularism in the works of Khajavi Kermani. This article will be done in a descriptive-analytical way and with a library method. The purpose of this study is to investigate the similarities and inequalities of Khajavi Kermani's view of the world with Nahj al-Balagheh's view of the world. The main question of the research is to what extent secularism has been influenced by Nahj al-Balaghah in the works of Khajavi Kermani. The results of the research show that Khajavi Kermani, who was familiar with Nahj al-Balaghah and the words of Ali (AS), describes the world as worthless, deceptive.

AkbarNameh is the firstofficial history ofAkbar's reign,which was written by Allami and illustrated during his time.He described Akbaras having "Fr"Some researchers believe that the images ofAkbar in the illustrated versions ofhis reign are influenced byPersian literature and have the characteristics of aking inthe Iranian tradition.One of the most basic characteristicsof this is"Fr".On the other hand, the interestof the Gorkans in Iranian literature and art caused the migration of the artists ofTabrizII.He went to India and established the Gurkani.According to the contents ofthese questions,how was Akbar's far reflected in the paintings of Akbarnameh?This essay was written with the aim ofinvestigating the characteristics"Fr"ofMandi Shahan inTahmasbi's Shahnameh and AkbarNameh, in order tofind out how the images are depicted in the paintings,and the extent of adaptation and influence of Safavid Tabrizon the painting of Gurkans of India.Inthis regard,firstly,the meanings of the word Far were analyzed based on etymology,then how the appearance of Fr ofShahs in the illustrations ofTahmasbi's Shahnameh andAkbarnameh was examined.theoretical fundamental research method;Based on the descriptive nature;In terms of how to deal with the descriptive-analytical problem,the texts and contents of the materials have been collected and analyzed in the library method.The research samples are limited to two illustrated versions ofTahmasbi'sShahnameh and Akbarnameh and the illustrations have been selected inorder to answer the research questions.Although Tahmasbi'sShahnameh is based on an epic text,and Akbarnameh is based on real life,researches show that Far ofAkbar's character inAkbarnameh has been symbolized bythe influence of Tahmasbi's Shahnameh and influenced by the artistic traditions ofthe second of Tabriz.