نشریه رهپویه حکمت هنر
سال سوم شماره 2 (پیاپی 5، پاییز و زمستان 1403)

Pierre Bourdieu (August 1930 – 23 January 2002) was a French sociologist and public intellectual. Bourdieu's contributions to the sociology of education, the theory of sociology, and sociology of aesthetics have achieved wide influence in several related academic fields (e.g. anthropology, media and cultural studies, education, popular culture, and the arts). During his academic career he was primarily associated with the School for Advanced Studies in the Social Sciences in Paris and the College de France. Bourdieu's work was primarily concerned with the dynamics of power in society, especially the diverse and subtle ways in which power is transferred and social order is maintained within and across generations. In conscious opposition to the idealist tradition of much of Western philosophy, his work often emphasized the corporeal nature of social life and stressed the role of practice and embodiment in social dynamics.There are three basic concepts in the book of Distinction (Distinction A social critique of the judgements of taste) which are considered the most fundamental concepts of her theory of Distinction. These three concepts are habitus, field and capital, especial cultural capital.in sociology, habitus is the way that people perceive and respond to the social world they inhabit, by way of their personal habits, skills, and disposition of character. People with a common cultural background (social class, religion, and nationality, ethnic group, education, and profession) share a habitus as the way that group culture and personal history shape the mind of a person; consequently, the habitus of a person influences and shapes the social actions of the person.

Beauty is sometimes a feeling and sometimes a perception of pleasure and inner satisfaction that naturally emerges and manifests itself at every level of human existence. The beauty of a person depends on the proportion of his similarity and closeness to the Almighty God, which is achieved through hikma, that is, by cultivating the intellect through sound knowledge and righteous action, and by making the intellect dominate over illusion, imagination, and the body. The result is the enjoyment of health at the level of the body, beauty and art at the level of imagination, moral virtues at the level of fancy, and finding a way to the inner world at the level of intellect and beyond. The connection of hikma with science and art means that the scientist and artist base their knowledge, insight, motivation, tendency, character, method, and action on hikma. The theory of the revolutionary system, which is proposed in the statement of the second step of the revolution and has three pillars of self-development, socialization, and civilization, will be based on the universal and innate slogans of the Islamic Revolution, that is, it will be derived from hikma. Considering the general public's susceptibility to imaginary matters, the hikmii art has an unparalleled importance and role in directing the people of society towards the three aforementioned pillars. In order to achieve this, the necessity of creating hikmii governance becomes more and more apparent.

Ta’ziyeh (Shabihkhani) is a ritualistic, traditional, narrative, poetic, and musical performance that originated from the mourning rituals of Iranian Shiites for their third Imam. Centered around the events of Ashura, this form of theater relies on symbols, signs, and fixed conventions in both its text and performance. Due to these characteristics, particularly its ritualistic function, some scholars have classified it as a "holy performance," while others have raised doubts about this designation.This research, recognizing the importance of understanding the dramatic heritage of Iran, draws on the perspectives of traditionalists, notably Titus Burckhardt, and other theorists in the field. It seeks to address the question: Can Ta’ziyeh (Shabihkhani) be considered a holy art and a holy performance? If so, or if not, why? And based on this, through a descriptive-analytical approach and an examination of various aspects of Ta’ziyeh (Shabihkhani) performances, the study has concluded that, at least in its entirely ritualistic and commemorative gatherings, Ta’ziyeh can be considered as holy art and holy performance. As a traditional performance, it connects with eternal truth, serves a ritualistic function, and acts as a mediating link between the participants (both audience and performers) and the eternal truth. By embodying the defining traits of holy and traditional art, Ta’ziyeh manifests religious and mythological beliefs. 

Recreating Quranic themes in works of art has long been a concern of Muslim artists, who have emerged in various artistic forms. Entering the era of modernity and the substantial differences of modern arts such as cinema have made achieving this concern difficult. The way to express the sublime themes of the ruling and portray them in a limited frame of the image faces many challenges. Martyr Seyyed Morteza Avini, with his soul trained in the structure of pure Islam, tried to show the realization of the unseen themes of the Quran in the first layer in the warriors and the second layer to the audience of the documentaries. In this research, an attempt has been made to trace its representation in the first set of the conquest narrative by explaining the components of wisdom as a central theme in Surah Luqman. The qualitative content analysis method and cognitive analysis with the help of Max Quda software were chosen to achieve this purpose. The main purpose of this research is to examine the representation of the legal concepts of Surah Luqman in the documentaries of Martyr Morteza Avini, especially the "Narrative of the Conquest" series, and to analyze the impact of this representation on the audience's understanding and spiritual experience. The article seeks to show how Quranic concepts such as gratitude, faith in the unseen, patience, and adherence to religious wisdom have been depicted through the combination of cinematic art and cognitive approaches. The results of the data analysis indicate that the narrative of the conquest has precise indicators in the thematic representation of wisdom. This representation has been depicted through the coordination of human cognitive and perceptual components and the technical features used in the first series of the narrative of the conquest, and it indicates the adaptation of the filmmaker's ego to the reality of the external phenomenon on the front and the dominant discourse of the Islamic Revolution.

The subject of the present article is how in the Janamardan Order, the master, with his taste and taste, makes the workshop a place for the upbringing and development of students and young people and encourages them to learn techniques and professions. And from among the students, future experienced masters enter the field of work, which leads to the prosperity and promotion of the desired class. Fatutnamehs shaped the connection of the profession with religious beliefs and concepts and prevailing moral principles, and strengthened it and explained the roadmap for the student to achieve mastery.The issue of this article is what balances the traditional education system in Fatutnamehs relies on? What is the position of the master and the student in the traditional master-apprenticeship system of Janamardan and Fati professions?The research method of this article is based on a qualitative method and was carried out by studying library materials and exploring Fatutnamehs.The purpose of this article is to examine the why and how of age education among young men who are active in market professions. Explaining the theoretical foundations of the traditional education system and the common mechanism in the workflow of the master and the apprentice in traditional workshops.The achievement of this article is to conclude on the education and training of the apprentice in the traditional system by researching the Futuatnamehs and treatises of the Brotherhood of Safa and acknowledges that in the Futuat ritual, there was a method of spiritual knighthood and a four-tiered hierarchy in the education of arts and crafts.

According to many contemporary philosophers, art today faces a crisis of meaning and no longer serves, as it once did, as a process of bridging the heavens and the earth. Contemporary art often leans toward abstract representations of the sensory world rather than acting as a reminder of dimensions beyond material perception, to which humanity has an existential connection. Aesthetics, as a unifying element between philosophy, wisdom, and art, plays a foundational role in the creation of artistic works and forms the basis for discourse between art and philosophy. Therefore, to revive and elevate contemporary art, turning to mystical wisdom and mystical aesthetics through the lens of a scholar who is both a philosopher and an artist (such as William Chittick) can offer valuable insights. The central research question of this study is: What are the fundamental principles of aesthetics derived from William Chittick’s mystical teachings, and how do they manifest in the process of artistic creation. This research employs library-based methods for data collection and uses a descriptive and content-analysis approach to analyze the texts. Findings indicate that mystical aesthetics is rooted in divine love, which originates from God. This love is comprehended by humans through the recognition of the Divine Names. The artist, based on their level of understanding of these Names, is able to manifest them in their artistic creations through symbolic representation. Similarly, the audience, depending on their spiritual quest and progression along the mystical path, ascends through spiritual ranks, transforming art into a bridge between the heavens and the earth.

Aesthetic experience, along with its nature and dimensions, is one of the key concerns of scholars in the philosophy of art and aesthetics in contemporary discourse, where much attention is directed toward the artist and the artwork as the medium of the aesthetic experience. The primary focus of this research is to examine the nature of the unique aesthetic experience manifested in the works of Hafez. As one of the unparalleled and original figures in the artistic heritage of this land, Hafez is widely regarded not only as a master poet but also, according to many, as "Lesan al-Ghaib" (the Tongue of the Unseen) and a recipient of divine inspirations. Therefore, understanding the characteristics of his aesthetic experience, to illuminate the role of mysticism and spirituality in refining the aesthetic vision of artists, holds significant scholarly importance. Based on this, the central question of this research is: What dimensions characterize Hafez’s aesthetic experience within the context of his mystical perception, and how can it be interpreted? This question has been investigated through library-based resources using a descriptive-analytical method and the perspectives of experts in aesthetics, literature, and mysticism. The findings suggest that three key aspects underpin Hafez’s aesthetic experience: the breadth and depth of his perceptions, a loving presence in the world and closeness to existence and its hierarchies, and a profound connection with the concept of unity as explained in Islamic mysticism. These elements, deeply intertwined with the essence of existence and evident in Hafez’s poetry and aesthetic outlook, allow his aesthetic experience to be regarded as a spiritual one, achieved through his complete unity with the singular divine truth. Hafez perceives all phenomena in the world as beautifully arranged manifestations that serve solely to narrate the singular visage of divine truth. Through this lens, his profound mystical unity, intersecting with his artistic aesthetic experience, produces a luminous and spiritual form of aesthetic experience.

The world of mythology includes broad topics and concepts that are related to the material and spiritual manifestations of nature. Myths are an inseparable part of ancient culture, whose objective allegories have been embodied in literature and art over time. The legend of the glorious land of Zoroastrians "Khunireth" with natural elements such as mountains, water, cedars and plants... is a symbol of the promised paradise that continued with Islamic features after the fall of the Sassanid dynasty. With the acceptance of Islam by Iranians, mythological beliefs with a religious approach continue and appear in illustrated literary versions. An anthology of anthology's poems in 801 AH. It is one of the exquisite copies of the Shiraz school of the Timurid period. This edition contains paintings that have been able to show the fantasy of the mythological world and natural elements in a symbolic way and present landscapes that instead of objectively representing nature have manifested its mysterious effects. The important question in the mentioned field is to examine the visual characteristics of the elements and the degree of influence from Zoroastrian mythology. This article tries to investigate the mythological concepts that existed in Iranian belief before Islam and after the emergence of Islam in the enlightened minds of Iranians, it took on a religious color

This study investigates the interplay between form and meaning in artistic beauty, focusing on the perspectives of Thomas Aquinas and Eric Newton. The relationship between form and meaning is a fundamental concern in aesthetics, as it distinguishes the beauty of art from the natural world. While numerous scholars have examined the aesthetic dimensions of artworks, this research specifically delves into the interconnectedness of form and meaning through a comparative analysis of Aquinas' and Newton's theories.By employing a qualitative research method involving document analysis and a comparative approach, this study reveals that both thinkers, despite their distinct philosophical frameworks, concur that form and meaning are inextricably linked in artistic creation. Aquinas posits that form serves as the foundational element of an artwork, shaping all other components, while meaning is inherently tied to this form. Newton, on the other hand, emphasizes the intentional structuring of form to convey specific meanings.Artistic beauty, a fundamental concept in philosophy and aesthetics, has been a subject of enduring interest among thinkers. Two essential elements of an artwork, form and meaning, are inextricably linked in the aesthetic experience. Thomas Aquinas, a Christian philosopher and theologian, was one of the first to systematically explore the concept of beauty, drawing on the works of Albertus Magnus and Dionysius. Within the framework of Christian theology, Aquinas revived traditional medieval aesthetic concepts and argued that artistic beauty is intrinsically connected to both the form or appearance of the artwork (which aligns with its inner nature or meaning) and its semantic content (which is manifested in the artwork's appearance). In contrast, Eric Newton, a contemporary philosopher, contends that artistic beauty arises from the coherent and structured relationship between form and meaning. He posits that the meaning embedded within an artwork can be intuitively grasped, and that artists construct this structure through the elements they choose to incorporate into their work.While artistic beauty has been extensively examined by numerous scholars, this study delves into a specific aspect that has been relatively unexplored: the interconnected roles of form and meaning in shaping our aesthetic experiences. By focusing on the perspectives of Thomas Aquinas and Eric Newton, this research aims to fill a gap in the existing literature.Research QuestionThe central question guiding this research is: How do Thomas Aquinas and Eric Newton conceptualize the relationship between form and meaning in artistic beauty?This research delves into the interconnected roles of form and meaning in shaping our aesthetic experiences, as conceptualized by Thomas Aquinas and Eric Newton. By focusing on these two philosophers’ perspectives on the artwork and its context, we aim to provide a more comprehensive and structured understanding of the relationship between form and meaning in artistic beauty

The concept of "object" from the perspective of three great philosophers, namely Hegel, Michel Dufresne and Sartre, is associated with different interpretations, which are analyzed in detail in this article. According to the temporal precedence of the views, these three thinkers have presented different approaches to the object. Hegel sees the object on three levels: first, in nature, the object appears in the form of abstract perception; In the second stage, in the rational idea, the unity of consciousness and concrete subjective reality is observed; And finally, it reaches the sublime as an inherent and absolute totality. He believes that beauty is not perceptible in its essence and goes beyond sensory perception. The lowest order of beauty is nature which consists of inanimate objects and then moves towards the most perfect order. On the other hand, Michel Dufresne, with a different point of view, believes that the third level in external reality manifests intellectually as ideal and dominant ideas. But Sartre sees the object as a product of imagination and not sensory perception. Unlike Hegel and Dufresne, he presents a different approach to solve this problem, in which the aesthetic object not only does not have a pure intellectual reality, nor is it limited to psychological aspects, but is also not seen as an object in the form of representation, and instead, It is an imaginary reality.Keywords: object, aesthetics, sensory perception, imagination, sublime.

The issue of the Sublime as a perfect, transformative and astonishing situation of glory and greatness is a category that has not been paid much attention and analysis in the aesthetic field of art in the studies of traditional arts [oriental arts], and in the few studies that have been conducted, more attention is paid to its glorious aspect. Therefore, the present study intends to analyze the nature and quality of this concept in the field of art from a perennialism perspective by presenting an image of the aesthetics of the manifestation of the sublime through the lens of modern art theories. As is clear from the title of the research, the theoretical approach of the discussion is derived from the opinions of perennialists such as Schwan, Burckhardt, Nasr, Lings and other theoreticians in this field, and the method of this research is analytical and argumentative. In fact, the goal is to be able to present a discussion of what, how and how this concept is manifested in the perennialist way of analysis. The findings of the study are indicative of the fact that if, in order to understand the sublime, specifically through the lens of traditional arts, one goes to the central concepts such as the sacred, art and sacred beauty, and approaches this concept in such a discourse framework; This proposition can be reached that, contrary to the modern one-dimensional (in most cases subjective) awe-oriented view of the sublime, the sacred reading of this concept, in the multi-dimensional and universal objective context of sacred art, and with the Qur'an as the fundamental realm of Islamic art and beauty , if it has glory and wonder in its foundation, but it cannot be devoid of beauty. Because, basically, the sacred sublime matter cannot achieve its main purpose if it is limited and exclusive only to the divine glory in the modern understanding of it. Based on this view, due to the practicality and purpose of sacred art, it is even possible to justify and interpret the status of annihilation in mysticism, as otherwise there would be no attraction that would lead to the path.

Theopoetics, as a contemporary approach to interpreting religious texts, seeks to recreate and reinterpret sacred scriptures through the lens of productive and artistic imagination. This method enables us to derive new meanings from religious texts and connect them to modern life and its challenges. In this article, drawing on Paul Ricoeur's theory, the role of productive imagination in this tradition and the theopoetic reading of holy texts is explored in greater depth. Ricoeur emphasizes imagination as a transformative force, demonstrating how it can expand and augment reality. The article also analyzes examples of sacred imagery in religious language and art, examining how religious works of art (such as icons) generate meaningful and impactful images through linguistic creativity. These metaphors and images are conveyed to audiences through the imagination of the creator, potentially transforming individuals' religious understanding and experiences. Additionally, the article considers the motivations behind the emergence of theopoetics in the contemporary era and argues that this approach offers a response to the spiritual and cultural needs of modern society. Overall, the article aims to demonstrate that theopoetics, with its emphasis on creativity and imagination, provides a new avenue for rereading and interpreting religious texts, contributing to a deeper and more meaningful religious experience.