مجتبی انصاری

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. 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 endurance of any type of architecture is contingent upon the study of the characteristics that led to its formation. Two general approaches have been adopted to study and analyze the Iranian architecture. A number of scholars have taken a historical approach, while others have merely considered a genre- based approach. Making use of many historical studies, these scholars have attempted to produce an exacting categorization of Iranian architecture. They focuse on outward form and embellishment to identify and distinguish various classes and sub-classes of architecture in Iran. The third approach, which is outlined in this article, tries to explain such architecture from a conceptual point of view. This essentially involves identifying and analyzing those features that have allowed it to endure. The article shows that there has been a precise and thought- provoking interaction between architects and the intellectual classes that led to the formation of an enduring and transcendent form of architecture in Iran.

Persian carpet weaving is one of Iran’s most famous industries that has attracted the world’s attention to Persian arts through the centuries. What above all, have given prominence to Persian carpet as a beautiful work of art are the pattern and its composition in a two-dimensional space. The diversity of patterns, use of deep and beautiful colors, good composition, harmony of colors, delicate and poetic composition are among the most outstanding features of Persian carpet. Industrial advancement and development of transportation in the 19th century led the western explorers to travel eastward making them acquainted with the cultural heritage of these civilizations. William Morris, the leading thinker and artist of the British Arts and Crafts Movement is among the first to conduct a research on Persian carpet’s patterns and designs. In this paper, we are proposing a semiotic approach to the transaction between Persian artists who made beautiful and ever-lasting carpet designs and William Morris as a pioneer of Pre-Modern Movements in Europe, who studied and recognized the underlying principles of Persian art (mostly carpet), and applied them in a creative way to his own remarkable hand-made designs.