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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.

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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’.

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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.
 
 

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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.   

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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

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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

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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.

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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.

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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?
 
 

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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 40^th 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.

 

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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.

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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.

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This article attempts to answer the following questions in a descriptive-analytical way: What is the reason for Baumgarten`s use of poetry to demonstrate the independence of aesthetics? What are Kantchr('39')s views on the place of poetry in aesthetics? and what are the differences between them on this issue? The purpose of this article is to clarify the superior art of one of the followers of the rationalist school by looking at Kantchr('39')s view. The results show that due to the beliefs of many aestheticians the words and the sounds are one of the most important aspects of the human soul`s motivating. In the Age of Enlightenment, Baumgarten continued by examining the influence of words and its effect on the emotions, passions by referring to the Christian belief, especially in one of the pietist`s campaigns the Protestantism. Kant separates poetry from rhetoric as a whole, he thought about his attitude, especially about the beauty associated with fine arts such as poetry, the relation between form and content of words, the rich content of words, and the grandeur of content and dignity similar to Baumgarten. The prominent difference is in the free play that Kant considers the poetry between sensibility and understanding and in the natural beauty with regard to form and the independent beauty in the fine arts. Free play has not come to Baumgarten`s ideas. Nor is there any trace of Baumgarten`s perfection in the beauty of the pure form or the free beauty in the Kantian approach to poetry.

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This article is aims to semiotic method implement for achieving the pattern or patterns governing the semantic processes of action and tension and the effect of the aesthetic flow on these processes in context of the first chapter of Saudi's Golestan satirical discourse. Therefore, this is the first attempt semiontic processing analysis in satirical discourse in the first chapter of Saudi's Golestan. The meaning of satire is critical humorous utterance which purpose of its formation in language is social reform through aesthetic flow, so it's different from Facetiousness and lampoon. The semiotic method seeks to analyze discourse to perceive the conditions of its production and perception. The semiotist encounters with a meaningful set that takes into account the semantic hypotheses and their interrelationship with each other in the first stage, then he/she searches the forms that correspond to these semantic hypotheses in order to prove these hypotheses. The hypothesis of the present study is that the semantic process in satirical discourse transforms the action system into tension and creates an atmosphere of fluid through the interaction between contractive (emotional, internal) dilative (cognitive, external) which creates a new sense of meaning. Subject perceptive presence and enunciator at higher stages, increase tension between contractive and dilative dimensions which replaces commons expression with different expressions in content. Changing in linguistic expression-content relationship is one of the satire features which change the value by aesthetics theory in this discoursediscourse.
In parallel with examining the semiotic foundations in literary discourse, the main objective of the present study is to achieve the dominant patterns on the semiotic processes of actional and tensive regimes of discourse and to show the effect of aesthetic flow on the so called processes in the first chapter of Sa'di’s Golestan in analyzing satire. Thus, this research is considered the first attempt in this regard. By satire, we mean a critical discourse which aims to alert social issues and is shaped by aesthetic flow in the system of language being different from facetiousness and invective. Semiotic approach seeks to analyze discourse to find the underlying structure of production and perception of signification. Facing a semiotic ensemble, the first step for a theoretician of this realm is to investigate the semiotic hypotheses and their relationships. In order to prove these hypotheses in the next step, he /she pursues the forms which are similar to the latters. In this study, the hypothesis is as follows: Satire discourse changes the actional regime into tensive one and via the interaction of intensive dimension (thymic, internal) and extensive (cognitive, external) dimension leads to the formation of a fluid space through which the creation of new semiotic forms is possible. To form the atmosphere of satire and by adopting the particular point of view, the enunciator of Sa’di’s Golestan examines the relationship between the plan of expression and content in the language and discourse: Due to the sensible presence of the actor, enunciator ignores the preexistent and current signs and replaces his/her desirable signification by orienting the action-based regime of discourse toward the tensive –based model with intensive –extensive function. In this space and due to aesthetic flow, common values meet the challenges and modifications. Furthermore, by discursive conjunction, he/she speaks of long distant persons and places in order to avoid the harsh reaction of enunciate. Most satires in literature obey this rule. An orator was asked: what do you mean by a Muslim? He told that I am an orator and I don’t care about the Muslim (Zakani, 1999: 303). The use of extensive background increases on the one hand the force of manipulation in narrative and pave the way to the surprise and satire for enunciate which is considered the result of intensive dimension on the other hand. In Zakani’s narrative, negative question plays this role. By taking different position in discourse, the relationship among these elements resulted in the formation of new vision to the state of affairs. This viewpoint in tensive zone presents a kind of mythical or poetic cognition which targets the common and current beliefs. These new values do not overlap with the stabilized norms. The critical aspect of satire is crystalized here and shows the objection of enunciate. The enunciate is sensitive to what is unpopular and reveals it in humor in order to correct the behavior of man and society: the text therefore goes from the point of view of social criticism to the targeting of common moral imperatives. 
 

 

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Aims: One of the main challenges of Iranian architecture in its last four decades are confusions in its visual identity and the lack of dynamics in the facades of its buildings. The use of new materials along with the use of cultural values and the rich architectural identity of Iran can have a significant impact on the dynamics of urban Facades. The main purpose of this study is to explain the position of new materials in urban and architectural facades of Iran Architecture and to prioritize solutions of the use of new materials to enhance the dynamics of facades in contemporary buildings.
Methods: This research Consists of a combination of descriptive-analytical and survey methodology. and by the use of a SWOT analysis the Internal and external factors affecting the use of new materials have been analyzed and finally the data obtained in the form of questionnaire questions have been provided to the statistical community.
Findings: Findings indicate that the majority of experts pay attention to the aesthetic and static aspects of materials in the aspect of dynamics of the facade and less attention is paid to the efficient ecological components.
Conclusion: in this study the use of new materials in Iranian Contemporary architecture and its role in the development of trends and Morphological metamorphosis has been reviewed and indicates that itchr('39')s possible to improve the dynamics of building facades by using efficient components as well as improving the quality of aesthetic and statical aspects of materials.

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Despite the harmony and consistency in  Ferdowsi's Shahnameh's with Hegel's belief  in his aesthetic lessons about  the features of “proper epic”, he calls Shahnameh incommensurate and lacking an independent functional center. He knows the proper epic, the manifestation of the totality of the world of a nation, which is the result of the human manifestation of incomprehensible myths. Therefore, the original epic poetry, as the first stage of the self-consciousness of the absolute soul, can be regarded as absolute art, which, by creating a kind of collective consciousness in the historical community, has the highest degree of consistency between the subject and the object. The aesthetics of Ferdowsi's Shahnameh also focuses on the actual fulfillment of mythological content, namely: "the controversy of the opposing forces. In this paper, first, using Hegel's views on proper epic, we have answered his criticism about Shahnameh, and then, relying on the categories of "Hegelian philosophy", including: the family, the system of needs, and the country or goverment, in the category of social ethics, in a comparative analysis method, we will prove that Ferdowsi's Shahnameh, like some of the world's greatest epic, unlike Hegel's views, has the most prominent features of an  proper epic with the power to convey the common religious and moral understanding of the world, is a global and lasting art.
 

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The Holy Qur'an is a heavenly prism that has attracted everyone's attention with its strange order, even polytheists, to the point where some attributed it to magic. Jurjani's theory of order is a theory that seeks to prove the linguistic miracle of the Holy Quran. This theory was proposed along with the view of some Mu'tazilis about the miracle of the Holy Qur'an, who said that the miracle of the Qur'an is not in its language, but rather in the fact that God does not allow anyone to bring the likeness of the Qur'an (theory of efficiency). In this theory, Jurjani considers order to be the same as searching for and finding the rhetorical subtleties of the Qur'an, and he relates eloquence and rhetoric to meaning, and calls the word a subordinate and servant of meaning. This article, with a descriptive analytical method and relying on Jurjani's theory of order, seeks to analyze Surah Mubarakah Hamad in order to validate this content that in this Surah, depending on the circumstances of the audience, the words are used in a special way, such as coming in the form of Ma'rafa and Nakrah. Back and forth, interjections, etc. are arranged to express their purpose in a proper way. Each word has its own special place, in such a way that if it is removed from its place and placed in another part, the order and proportion and ultimately the beauty and tenderness of the words will be lost and the intention of the theologian will remain unclear.

1. Introduction
Jorjani’s Theory of Nazm (Order), based on the existence of miracles in language engineering and the particular arrangement of words, seeks to prove the linguistic miracles of the Holy Quran, and it is against the view of some Motazelis who do not consider the miracles of the Quran in its language, but rather in the fact that God forbids bringing something like Quran (the theory of Sarfa). In the theory of order, Jorjani considers the miracle in applying the meanings of syntax and rhetorical subtleties of the Quran as among various aspects, and he relates eloquence and rhetoric to meaning and calls words subordinate and servants of the meaning. This paper aims to analyze Surah al-Hamd (Fathiha) and show its beauty with a descriptive-analytical method, relying on Jorjani’s theory of order. This study tries to answer the following two questions:

1. How is the beauty of order manifested in Surah al-Hamd?
2. What concepts and meanings are obtained by relying on the theory of order?

2. Literature Review
It seems that the beauty of the order in Surah Al-Hamd lies in the engineering of language and the coherence of its structure and words. This special order and structure provide a confirmation in accordance with the ideology of this Surah. Getting aware of the order in the verses through the coherent relationship between the words and the structure of the Surah naturally confirms the concepts of monotheism, prophethood, resurrection, judgment, destiny and sincerity of the audiences.
3. Methodology
Therefore, the present research is the first research that deals with the rhetorical miracle of this surah based on Jorjani’s theory, and during it, through rhetorical points, it examines the meanings and appropriateness of the verses and words and their relationship with regard to the overall structure.
4. Results
In examining Surah Al-Hamd based on the Theory of Order, the following results were obtained:
The chapter in the opening verses, such as the chapter of Allah from the rest of the universe in his oneness and proof of his oneness, is connected in the verse “thee do we serve and thee do we beseech for help” and its fit with the plural of the two verbs, indicates the sharing of humans in collective worship and, seeking help and proof of God’s oneness; chronology, praising, and criticizing in the noun clause at the verse " all praise is due to Allah, the lord of the worlds" is in proportion to the praise of God and praise is at the center of the speech. Precedence of the verb “serve” on the verb “beseech for help” is in proportion to the precedence of “Allah” on “the Lord” in terms of neat wrap and spread. Shortness, repetition, and deflection in the verse “thee do we serve and thee do we beseech for help” is in proportion to bowing to Allah and expressing the sincerity of the believers and their distance from hypocrisy and arrogance; and the use of such functions as adjective and substitute in “the beneficent, the merciful” and “the path of those upon whom you have favored” and the clear metaphor at the word “path” in the verse “guide us to the right path”; and definite  use of the words “Allah, the beneficent, the merciful, the right path, those upon whom, those who earn thine anger  and those who go astray” and taking advantage of present sentences with future verb in the verse “thee do we serve and thee do we beseech for help” and imperative verb in the verse “guide us to the right path” and proportion of the word “Al-hamd” with the word “Allah” as well as proportion of the word “Allah” with the verb “serve” and “those who earn thine anger” and “owner of the day of recompense” and proportion of the word “the Lord” with the verb “beseech for help” and “guide us” and other words with each other and proportion of all of them to the meanings and objectives of the surah are considerable. The coherent and regular structure and the special order of the words is such that it is not possible to remove a word from its place and replace it with another word, or to move the words, because the chain of order and coherence of the verses will be broken. The witness of this matter, in addition to the mentioned cases, is the word “recompense” in the verse “owner of the day of recompense” which cannot be replaced by the word “resurrection” because it will cause the intention of God to be hidden in this regard. Chronology, precedence and displacement in the verses “all praise is due to Allah, the lord of the worlds” and “thee do we serve and thee do we beseech for help” and the next verses verify this matter. The wonderful arrangement of words in this surah, as stated, are the manifestation of God’s beautiful and glorious attributes. Despite the shortness of Surah Al-Hamd, God has mentioned all the fundamental principles of religion, including monotheism, prophethood, resurrection, divinity and lordship, and the submission of righteous servants. And that is why this surah is nicknamed Mother of Quran or Fathiha of Quran.