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Showing 43 results for Aesthetic
Volume 0, Issue 3 (9-2008)
Abstract
Abstract The core concept of this article is the comparative study of the reflection of a common theme in the works of artists from different cultural backgrounds. The theme of temptation is common in the works of two artists studied here. "The temptations of Saint Anthony" by Hieronymus Bosch, the Flemish painter in the early sixteenth century and a miniature from Saadi's Bustan, "the Prophet Yusuf rejects Zuleykha" by Kamaledin Bihzad, the Persian master painter in the late 9th and early 10th century Hijra (early 16th century). The article studies the approach of each painter to the concept of "Temptation" and their perception of this phenomenon, how each one has tried to express their perception and the visual narrative they offer their audience. Through these comparisons and analysis, the authors try to examine the cultural differences as well as common cultural grounds between the Islamic and Christian cultures in one hand and on the other hand the artistic differences and similarities between the Flemish and Iranian painters' views.
Volume 1, Issue 1 (10-2011)
Abstract
The promotion of aesthetical skills and artistic perception improvement are considered as significant and strategic issues for architecture to deal with. However, a vast range of influential methods are employed by architecture advisors, professors and academies for developing architectural accomplishments; meanwhile, the significant role of secondary school trainings in promoting such conceptions are definitely underestimated. Hence, Ministry of Education plays an increasingly important role for preparing the schedules in the field of aesthetic skills and basic learning. Undoubtedly, the proposed framework will provide newly training artists with cultivated experiences and creative minds due to initially fundamental trainings. Accordingly, this paper intends to study the discontinuous learning methods in high schools and practical continuous training ways in technical schools of Iran. Meanwhile it compares them with each other, and discusses whether high school trainings are effective in improvement of aesthetic skills and abilities of architecture students.The research methodology is logical argumentation and used techniques are comparative methods, meanwhile the paper tends to employ a qualitative approach. Ultimately, the result shows that continuous trainings in technical schools are superior due to practical educating, although definite conclusion requires further investigations. Moreover, the paper makes a suggestion to the authorities to pay more heed to the targeted and continuous architectural educations in high schools.
Mohammad Reza Salehi Mazandarani ,
Volume 1, Issue 4 (12-2008)
Volume 1, Issue 4 (12-2008)
Abstract
The views of the great poets on the essence of poetry and its constituent elements, expressed implicitly within the lines of their poetry, offer invaluable points that are often missed by literary critics. These critical views, which are sometimes expressed in a pseudo-philosophical statements, and are often wrapped in artistic expressions, are based in their actual experiences. These views are usually expressed in brief, or wrapped in imagery, or even in an elegant indirect language, which may be extracted and, through analysis, may lead to our deeper understanding and invaluable views on poetry. These conclusions, we realize, are sometimes confirmed by the bulk of criticism. It is worth noticing that such conclusions were already preceded by great poets who were apparently the best critics themselves. The classification and the analysis of these poets’ views on poetry are considerable, and can constitute a new branch of study in the field of history of literary criticism in Persian Literature, and subsequently change the traditional system of evaluation of poetic styles.
Morteza Abedinifard,
Volume 2, Issue 7 (12-2009)
Volume 2, Issue 7 (12-2009)
Abstract
In his Notebooks (1914-1916), Wittgenstein announces that ‘artwork is the object seen sub specie aeternitatis’. At nearly the same time, in another part of the world, there was a critic and thinker, who thought art as making objects ‘unfamiliar’. He was Victor Shklovsky. I argue that there is a noticeable and yet unintended similarity and relation between these two aesthetic viewpoints. Wittgenstein and Shklovsky’s emphasis on art is its power to pave the way for the readers (in the extended sense of meaning) to feel things in themselves and ‘out of their normal context’. As Shklovsky claims ‘art removes objects from the automatism of perception in several ways’; in contrast, through ordinary way of seeing, objects are ‘reckoned as nothing’. According to Wittgenstein and similar to Shklovsky’s attitude ‘aesthetically the miracle is that the world exists. That what exists does exist’. In this paper I attempt to show that the early Wittgenstein’s ideas of aesthetics are in harmony with the Shklovsky’s formalistic theory of art. In this direction, I focus on Wittgenstein’s sub specie aeternitatis’ and Shklovsky’s defamiliarization; because I think that they fill each other’s gaps. An artist defamiliarizes objects and the spectators see the objects sub specie aeternitatis. In Shklovsky’s thinking Habitualization (which ‘devours works, clothes, furniture, one’s wife and the fear of war’) is very near to what Wittgenstein means by ‘the usual way of looking at things’.
Volume 2, Issue 7 (6-2005)
Abstract
Hesampour ,S. ,Ph.D.
Hasanli , K. ,PH.D
Abstract:
Omar Khayyām is one of the most well known Iranian thinkers and medieval poets and his work has been internationally acclaimed. The limited number of his poems is counterbalanced by their deep meanings.
Various studies have been devoted to Omar Khayyām. However, researchers and literary men alike have mostly focused their endeavors on analyzing the depth of his thoughts as to the inner secrets of the self, his rhetorical questions concerning human existence, its origins, ends and ultimate fate while leaving aside a very important constituent of Khayyām’s poetry, its aesthetics. This lacuna led to the false impression that his poetry is structurally weak and not endowed with aesthetics elements.
In this study, we showed the interconnectness and harmony of Khayyām’s artistic lexicon and imagery with its form and content. Khayyām’s poetical aesthetics elements have been analyzed on three levels:
1.Artistic relation between poetical elements
2.Imagery
3. Emphasis and repetition.
Volume 3, Issue 7 (12-2015)
Abstract
Examining folk culture and literature plays a major role in understanding a society. It can reveal some historical and social points and explain the philosophy of certain traditions and rituals. The engravings on objects, the writings at the entrance of buildings, and tombstones are considered as examples of folk literature whose study and analysis may shed some light on the literary and social issues. In the present study, the existing writings on different portable objects based on three available written sources have been scrutinized. Besides examining the rhyme and aesthetic features, the themes of the poems on the objects were classified into eleven categories including describing the object or its function, assigning ownership of the object to a specific person, citing the name of craftsman (maker) for the object, inviting people to happiness and joy, citing ethical themes, citing prayers, assigning a specific production location for the object, citing love relations and dialogues, conveying eulogies, and citing chronograms. The significant point revealed in this study was the appropriateness of the poems or rhythmic language on the object with the object in use itself. This indicates the good taste and wit of the general public, the craftsmen, and audience for this genre of literature. At the same time, the researcher observed certain changes or distortions and rhyme imperfections.
Volume 3, Issue 9 (3-2006)
Abstract
Fotoohi . M. , PH.D.
Abstract
This essay is concentrated on Romantic Image. Romantic Image essentially is deferent with classic, symbolic, Surrealistic and imagistic Image, in nature and aesthetic. The author sets forth essence of romantic Image in three sections: The first section explains four special feature of Romantic Image 1) poet's transmutation in nature and things 2) images as shadow 3) running images and 4) individual aspect of image). The second section discusses the relation between images and their places in context of poem with two features of connection and running. The third section explains three functions of romantic images. The final part deals with the metaphoric pole of language in romantic writings.
This essay is aimed at distinguishing classical and romantic imagination and set forth process of creature, value of aesthetics and origin of image insights in these kinds of writing.
Volume 4, Issue 3 (12-2016)
Abstract
Volume 4, Issue 11 (1-2016)
Abstract
This article aims to study the aesthetics of Nakhlgardani ritual of “Abyane” village. Because of the migration of the young people from Abyane, a collection of natives is observable only in special situations as Nakhlgardani ritual. It is in such situations that we can study the life components of this culture with regard to its historical origins. This study aims to understand cultural aesthetics of Nakhlgardani ritual. To do this, we tend to answer these questions that, what are the aesthetics standards of “Abyane” culture? How these standards in Nakhlgardani ritual are used? This research has been done in field and for data collection we have applied interview, participant observation, photography, filming, oral history and historical image documents strategies.In the theoretical framework of anthropology, after analysis cultural analysis of the ritual components, we analyzed them in the whole ritual process. As the results of this research show, the main aesthetics standards of the people of Abyane are brilliance, harmony, balance and movement. Brilliant decoration in Abyane’s culture is equal to life and the separation from this decoration is equal to death. Thus, the function of the decorative art in Abyane society is creation and protection of the social life
Alireza Jafari,
Volume 4, Issue 13 (12-2011)
Volume 4, Issue 13 (12-2011)
Abstract
Poetry, Aesthetics, and Economics In Ezra Pound Alireza Jafari Shahid Beheshti University Abstract The two apparently separate spheres of aesthetics and economics have usually been treated as phenomena completely alien to one another. This is not the truth, however. For thousands of years, poets and artists have been intensely aware of the indissoluble tie and relationship between the two, and have directly and indirectly indicated this relationship in their works. Ezra Pound (1885-1972), the arguably greatest western poet of the twentieth century, spent almost all his poetic life trying to draw attention to this deep relationship between poetry and economics as both content and form or metaphor. By attending to Pound explaining the relationship, at least two aims can be achieved: firstly, getting to know the nature of this relationship and how it influences our reading of literary texts; secondly, acquiring a better appreciation of an important aspect of modernism in general, and of modern poetry in particular. Keywords: Ezra Pound, poetry, aesthetics, economics, sanity
Volume 5, Issue 1 (5-2024)
Abstract
The Arbaeen pilgrimage, a remarkable display of cultural-religious beliefs intertwined with time and space, embodies the essence of human faith in action. This research delves into the aesthetic aspects of this momentous journey, exploring its positive and negative components and proposing solutions for enhancement and rectification. Assessing aesthetic perception and judgment is a complex endeavor that necessitates empirical studies, conceptualizing, and evaluating human emotions. Measuring emotional concepts extends beyond the artistic realm, encompassing design, environment, nature, and even cognitive frameworks.
This study aims to evaluate the aesthetic emotions of pilgrims during the Arbaeen pilgrimage, addressing objectives such as the factors influencing aesthetic emotions, the impact of the environment on aesthetic emotions during Arbaeen, the effect of emotions on individual satisfaction, and providing recommendations for environmental improvement and enhanced pilgrim aesthetic experiences.
Employing a mixed-methods approach, the study utilizes both quantitative and qualitative data collection methods. Data was gathered through a specialized questionnaire based on the Neuroscience Aesthetics Scale, interviews, and field observations conducted by the researchers during the Arbaeen pilgrimage. The target population comprised 200 participants in the Arbaeen pilgrimage in 1401 AH (2022 CE), including 100 men and 100 women aged 20 to 50 years. The questionnaire data was analyzed using SPSS software, and the interviews were reviewed. Based on the comprehensive data, appropriate solutions were proposed to improve the conditions and enhance the environmental quality.
The target population consisted of 200 participants in the Arbaeen pilgrimage in 1401 AH (2022 CE), including 100 men and 100 women aged 20 to 50 years. The questionnaire data was analyzed using SPSS software, and the interviews were reviewed. Finally, based on all the collected data, appropriate solutions were proposed to improve the conditions and increase the environmental quality. The results indicated that the aesthetic experiences of the pilgrims were influenced by three main factors: management, infrastructure, and cultural-religious aspects. These factors can be further classified into 15 sub-components. The findings of this study suggest that by improving the three areas of management, infrastructure, and cultural-religious aspects, the quality of the aesthetic experience of the pilgrims in the Arbaeen pilgrimage can be enhanced. This can be achieved through various measures, including cultural training, improved infrastructure, appropriate planning, coordination between organizations, the use of technology, monitoring, and evaluation.
Volume 5, Issue 9 (9-2018)
Abstract
The theory of "aesthetics of reception" proposed by Wolfgang Eiser is one of the branches of the theory of reception in linguistics and literature. This theory emphasizes the reader's understanding and reception and aims to achieve the goal that the text translator, as one of the readers, ought to fill the gap based on his perception. This research is descriptive-analytic and is based on the theory of Wolfgang Iazer, and has chosen translations of Shojaee, Ellahe Qumshahi and Moaidi from Arafah's prayer, as a literary text. It has done this after examining the various types of gaps in the original text of prayer, and the way they reflect on Persian translation. The results of the research showed that the virtual part of the language (metaphor, quibble, permissive and simile) is the most intrinsic part of the prayer and metaphor has the largest amount of linguistic split. Translators have used two methods to remove and highlight these empty spaces and among translators, Mr. Shojaei, using a free translation of this prayer, has used the method of highlighting to read empty spaces more than others.
Volume 6, Issue 23 (6-2009)
Abstract
Ali Mohammad Haqshenas Lari,PH.D.
Ferdoos Aqagolzadeh, PH.D.
Aliye Kourd Zafaranlo Kamboziya,PH.D.
Fatemeh Alavi
Abstract
In the present study, the theory of Roqayeh Hassan on the emergence and development of verbal aesthetics in children is surveyed. According to this theory, a child unconsciously and involuntarily learns literature through hearing children’s lullabies and poetry. The child then identifies the phonetic, semantic and syntactical patterns in the poems and as a result a potentiality is formed in his mind; which builds up the basics of his verbal aesthetics in the following years. In this study, among the literary genres we merely focus on poetry. And among the literary patterns, we solely focus on phonetic patterns. It is noticeable that in this writing, investigation about the overlapping realms and at the same time the differences between ‘language’ and ‘literature’- as two of the scopes within the scopes of mind- exist at the background of all the discussions. In the next stage we will study what demands and theoretical consequences learning literature for teaching literature to children has due to the mentioned assumption. Based on the findings of this research, in children’s understanding and perception of literature, form prevails content and the cultivation of this assumption plays a significant role in developing their literary potential within the following years. Therefore, in writing children’s poetry it is better to pay sufficient attention to the aesthetic form and the manner in which the poetry is expressed rather than presenting complicated and educational content; especially in the early years of childhood. Among the aesthetic features of children’s poetry, pleasant and delicate phonetic patterns enjoy a vital significance. In the final part of this research we will investigate this question; to what extent the present theory and some of the other theories are useful in clarifying the major sources of literature? Are there other similar theories for the manner of elaboration and perception of literature? Does understanding the major source and the process of elaborating literature helps in understanding its entity?
Volume 7, Issue 2 (5-2016)
Abstract
Grammatical markers are those types of words by which the function of other words in the sentence is recognized. At first glance, grammatical words have no task except linking other words together, and are not amongst words towards which poets have any special concern. But studying them in poetry shows that they have various artistic functions and can be counted as effective tools by poet for constructing the language of his poem. This study aims at analyzing the aesthetic functions of grammatical words in contemporary poetry, and with an inductive method delineates that they are as essential as other words in the structure of poetic language and the effectiveness and foregrounding of speech. This category words influence the foregrounding of poetry both semantically and syntactically, and are employed as instruments for the emphasizing and foregrounding meaning, emotion and thought, and also as elements in creating music, irregularity, building of new linguistic forms, creativity and innovation in the field of poetry. Beginning or ending poems or lines of poems by some of these conjunctions, creative clustering or omitting of these words, and emphasizing the meaning by the proper employment of these words in the syntactic context of the poems are examples of the most significant aesthetic functions of grammatical markers in contemporary poetry.
Volume 7, Issue 4 (3-2018)
Abstract
The importance of aesthetics in perceiving urban landscape seems to be essential. Usually, the subject of aesthetics holds a position in ideas and viewpoints of philosophers. In Islamic perspective all the creatures are beautiful due to their connection to the creator of all the beauties. In this research, the subjects such as landscape perception, landscape aesthetics, perception in viewpoints of Iranian Islamic philosophers, and aesthetics in both Holly Quran and ideas of Iranian Islamic philosophers are surveyed and analyzed.
The purpose of this paper is to obtain some answers for these two questions: what are aesthetics indicators in Islamic view? How is landscape perception explained by these indicators? This is descriptive-analytic research. The findings are that Islamic philosophers consider absolute beauty, God, as origin of all the beauties. On the other hand, Islamic philosophers are believed to be holistic, using atomistic approaches. In addition, consideration to both subjective and objective axes in landscape aesthetics is thought to be necessary. Finally, indicators and components of Islamic aesthetics are introduced and landscape perception is provided based on these indicators in two fields of sensory-visual and social perceptions according to three perceptual fields of sensory, imaginary, and rational.
The importance of aesthetics in perceiving urban landscape seems to be essential. Usually, the subject of aesthetics holds a position in ideas and viewpoints of philosophers. In Islamic perspective all the creatures are beautiful due to their connection to the creator of all the beauties. In this research, the subjects such as landscape perception, landscape aesthetics, perception in viewpoints of Iranian Islamic philosophers, and aesthetics in both Holly Quran and ideas of Iranian Islamic philosophers are surveyed and analyzed.
The purpose of this paper is to obtain some answers for these two questions: what are aesthetics indicators in Islamic view? How is landscape perception explained by these indicators? This is descriptive-analytic research. The findings are that Islamic philosophers consider absolute beauty, God, as origin of all the beauties. On the other hand, Islamic philosophers are believed to be holistic, using atomistic approaches. In addition, consideration to both subjective and objective axes in landscape aesthetics is thought to be necessary. Finally, indicators and components of Islamic aesthetics are introduced and landscape perception is provided based on these indicators in two fields of sensory-visual and social perceptions according to three perceptual fields of sensory, imaginary, and rational.
The importance of aesthetics in perceiving urban landscape seems to be essential. Usually, the subject of aesthetics holds a position in ideas and viewpoints of philosophers. In Islamic perspective all the creatures are beautiful due to their connection to the creator of all the beauties. In this research, the subjects such as landscape perception, landscape aesthetics, perception in viewpoints of Iranian Islamic philosophers, and aesthetics in both Holly Quran and ideas of Iranian Islamic philosophers are surveyed and analyzed.
The purpose of this paper is to obtain some answers for these two questions: what are aesthetics indicators in Islamic view? How is landscape perception explained by these indicators? This is descriptive-analytic research. The findings are that Islamic philosophers consider absolute beauty, God, as origin of all the beauties. On the other hand, Islamic philosophers are believed to be holistic, using atomistic approaches. In addition, consideration to both subjective and objective axes in landscape aesthetics is thought to be necessary. Finally, indicators and components of Islamic aesthetics are introduced and landscape perception is provided based on these indicators in two fields of sensory-visual and social perceptions according to three perceptual fields of sensory, imaginary, and rational.
The purpose of this paper is to obtain some answers for these two questions: what are aesthetics indicators in Islamic view? How is landscape perception explained by these indicators? This is descriptive-analytic research. The findings are that Islamic philosophers consider absolute beauty, God, as origin of all the beauties. On the other hand, Islamic philosophers are believed to be holistic, using atomistic approaches. In addition, consideration to both subjective and objective axes in landscape aesthetics is thought to be necessary. Finally, indicators and components of Islamic aesthetics are introduced and landscape perception is provided based on these indicators in two fields of sensory-visual and social perceptions according to three perceptual fields of sensory, imaginary, and rational.
The importance of aesthetics in perceiving urban landscape seems to be essential. Usually, the subject of aesthetics holds a position in ideas and viewpoints of philosophers. In Islamic perspective all the creatures are beautiful due to their connection to the creator of all the beauties. In this research, the subjects such as landscape perception, landscape aesthetics, perception in viewpoints of Iranian Islamic philosophers, and aesthetics in both Holly Quran and ideas of Iranian Islamic philosophers are surveyed and analyzed.
The purpose of this paper is to obtain some answers for these two questions: what are aesthetics indicators in Islamic view? How is landscape perception explained by these indicators? This is descriptive-analytic research. The findings are that Islamic philosophers consider absolute beauty, God, as origin of all the beauties. On the other hand, Islamic philosophers are believed to be holistic, using atomistic approaches. In addition, consideration to both subjective and objective axes in landscape aesthetics is thought to be necessary. Finally, indicators and components of Islamic aesthetics are introduced and landscape perception is provided based on these indicators in two fields of sensory-visual and social perceptions according to three perceptual fields of sensory, imaginary, and rational.
The importance of aesthetics in perceiving urban landscape seems to be essential. Usually, the subject of aesthetics holds a position in ideas and viewpoints of philosophers. In Islamic perspective all the creatures are beautiful due to their connection to the creator of all the beauties. In this research, the subjects such as landscape perception, landscape aesthetics, perception in viewpoints of Iranian Islamic philosophers, and aesthetics in both Holly Quran and ideas of Iranian Islamic philosophers are surveyed and analyzed.
The purpose of this paper is to obtain some answers for these two questions: what are aesthetics indicators in Islamic view? How is landscape perception explained by these indicators? This is descriptive-analytic research. The findings are that Islamic philosophers consider absolute beauty, God, as origin of all the beauties. On the other hand, Islamic philosophers are believed to be holistic, using atomistic approaches. In addition, consideration to both subjective and objective axes in landscape aesthetics is thought to be necessary. Finally, indicators and components of Islamic aesthetics are introduced and landscape perception is provided based on these indicators in two fields of sensory-visual and social perceptions according to three perceptual fields of sensory, imaginary, and rational.
Volume 7, Issue 25 (5-2019)
Abstract
Chehel-soroud is one of the most popular and current types of omen among Lorestan people which they perform collectively. In every presage, forty couplets are attributed to interpret the intended 40th couplet. In the present research and based on library resources, the aesthetic function of the 500 chehel-soroud couplets collected by the field method was analyzed in two parts of "Phones , Vocabulary, Musics and figures of speech " and the surface structure including Emotion, Thought and Meaning. The research findings showed that at surface structure of phones movement with music is sometimes created with serenity and sometimes with violence. The association of vocabulary plays a role in the association of emotions and the meaning of poetry. The association of vocabulary plays a role in the association of emotions and the meaning of poetry. In some parts of the verses, meter and rhyme are unacceptable, which is to some extent negligible. Internal music is due to figures like phonotactics , morphophonemics and pun. Spiritual musics in its turn is as a result of figures like Mora’at al nazir, Hossn-e- Ta’lil and hyperbole. Metonymy and assimilation play a key role in the creation of figures of speech. Emotionally, at deep structure level, good omens are accompanied by enthusiasm while sinister ones lead to despair. In terms of meaning and regarding the frequency , themes of love and friendship, natural resources such as mountains and trees, religious beliefs and interests such as hunting, breeding, agriculture etc. are evident in the couplets.
Volume 7, Issue 26 (6-2019)
Abstract
One of the intrinsic qualities of literature as art is beauty. The important musical and linguistic elements make poetry beautiful by creating deviation. Sherveh which is one of the well-known examples of southern Iran musical art (Hormozgan and Bushehr ) is not the case of exception. The present research aims at introducing as much as possible the verses as well as the study of the aesthetic elements of this type of poetry, with a rhetorical criticism and a descriptive- analytical approach. The corpus of the present study consists of Fayez Dashtestani and Mahya Bastaki lyrics. The results of the research indicate that the main reason for the survival of these poems, in addition to their content, is due to the aesthetic components of these poems, which shows that these two poets are totally mastered the poetry. These two poets were able to create beauty in their poetry by using simple language, the most popular vocabulary and the vast frequency of inventive figures corresponding to the linguistic context of poetry, such as comparison and metaphor. A linguistic and literary beauty which are in perfect harmony with the emotional texture of the poem, its content and its audience in general.
Volume 7, Issue 28 (11-2019)
Abstract
Due to their deviation from the principles and rules of formal written literature, nonsense are the poems driving from oral and popular literature, and are a mixture of verbal and musical games that seem to have no message. Although seemingly meaningless, nonsense are full of movement and events. The interconnected notions of nonsense and their imaginative images portray a world full of enthusiasm for children, a world without rules, like the imagination that makes up for everything it wants. In order to analyze nonsense, this study uses data collection by the library method and is based on data analysis, primarily qualitative and inductive reasoning, by examining "aesthetic rhetoric," including linguistic and syntactic deviation, synesthesia, rhythmic pattern, unusual imagination, image inversion, surreal imagery, personification, animation without any temporality and spatiality, the aesthetics of deviation even with the conflict of meaning and repetition of content. The results show that nonsense are dynamic and living poems in the field of folk literature that change and adapt to temporal and spatial conditions and that their aesthetic and semantic rhetorical traits are more expressed in linguistic structures and forms. It should be noted that the semantic deviation is their proper and inseparable character at syntagmatic and paradigmatic levels.
Volume 8, Issue 2 (5-2017)
Abstract
In this research, the language –tension function of light has been studied and analyzed in Sohrab Sepehri’s poem statement system. This research’s main goal includes studying and specifying the tension system function, the tension layer and the light semiotic aspect in Sepehri’s poem language by emphasizing on the East of Grief and the Green Volume poems collection. Our main question is how language-tension system of light leads to generation of aesthetic process and how this system can perform a role in semiotic process. In fact, the goal of present research is to represent how language-tension system of light creates a permutation situation for statements and how this process can lead to light notability. The research’s theoretical framework is tension pattern based on the post Greimassian semiotic systems. In tension system, the intensive and extensive layers play the roles together in interaction. Our hypothesis is that the light statement system of Sepehri’s poem subordinates to ascendant tension structure and the descending tension structure is in the service of ascendant structure. The language-tension system of light plays the key roles both with permutation and notability function and ultimately the process of aesthetic statement comes off with light notability.
Volume 8, Issue 2 (9-2018)
Abstract
Introduction Wherever there is beauty, there is love as well. In philosophical interpretation, love is the tendency to what man lacks, which is called “perfection”. Man’s soul is always trying to bring him to perfection, and beauty is an appeal for reaching perfection. Whatever apparently exists, is manifestation and blessing of holy God’s nature. Man, the vicegerent of God, has descended to this material world for a short time to fulfill his spiritual origin with his knowledge and authority. The aim of this study was to explain the concept of beauty from Islamic cosmological point of view to evaluate the works of architecture and urban planning.
Conclusion The beauty is derived from the perception of the real beings perceived in the material world as the material forms by the five senses, in the sensible world with the conceptual attributes of the intellect and in the world of hereafter by the heart (soul), in terms of the power, the appearance of the existence, and the capacity of the audience. The most comprehensive description of the intrinsic tendencies of man toward absolute perfection and unique being has been expressed in the Holy Quran by presenting 100 good adjectives and names of God. Any work that has these adjectives is more complete, so it is more beautiful. Man, as the vicegerent of God on earth, in his works, including the works of architecture and urbanism, must bring these adjectives and names to manifestation, and the more these adjectives and names be manifested in his work, the more beautiful the work of architecture and urbanism, and this indicator is a measure of distinction and a comparison of beauties.
Conclusion The beauty is derived from the perception of the real beings perceived in the material world as the material forms by the five senses, in the sensible world with the conceptual attributes of the intellect and in the world of hereafter by the heart (soul), in terms of the power, the appearance of the existence, and the capacity of the audience. The most comprehensive description of the intrinsic tendencies of man toward absolute perfection and unique being has been expressed in the Holy Quran by presenting 100 good adjectives and names of God. Any work that has these adjectives is more complete, so it is more beautiful. Man, as the vicegerent of God on earth, in his works, including the works of architecture and urbanism, must bring these adjectives and names to manifestation, and the more these adjectives and names be manifested in his work, the more beautiful the work of architecture and urbanism, and this indicator is a measure of distinction and a comparison of beauties.