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The Qur’an, an educational book with multilayered narratives, has strongly influenced dramatic arts in Iran since the establishment of the Islamic Republic. However, most contemporary Qur’anic plays focus narrowly on specific subjects, thereby diverging from comprehensive Qur’anic themes. This narrow focus has confined the works to repetitive and stereotypical surface-level topics. In the present study, the two plays Parizad of the City of the Forgotten and Four Chests are selected to identify, extract, and analyze the components of Qur’anic plays and the reflection of Qur’anic themes in dramatic works, aiming to provide a comprehensive definition of Qur’anic drama. The main research question is: ‘What characteristics cause contemporary plays to be classified as Qur’anic artistic works?’ The research method is descriptive–analytical. By rigorously examining the selected plays' content for Qur’anic components, this study establishes that the authenticity of Qur’anic narratives lies in their thematic substance, which, when preserved, can be successfully adapted into various contemporary dramatic forms with diverse subjects and modes of expression. Therefore, it can be asserted that there is no essential functional or message-based distinction between religious and non-religious plays, highlighting the universal adaptability and relevance of Qur’anic themes within modern dramaturgy

SUBJECT & OBJECTIVES: Educational experts have examined the importance of incorporating art and aesthetics into education. They argue that despite the well-documented benefits of art in achieving educational objectives across intellectual, emotional, religious, and ethical domains, its integration into educational settings remains incomplete.  There is a need for extensive research on the effectiveness of artistic and aesthetic approaches in various educational curricula, including medical and higher education. In this regard, the present study aimed to investigate the impact of engagement with art and aesthetics on the intellectual, emotional, religious, and ethical education of artists’ lived experiences.METHOD & FINDING: The current research utilized a qualitative and phenomenological approach, focusing on diverse artists representing various art forms. The participants in this qualitative and phenomenological study were 19 artists from different fields of art in Kerman, a province of Iran, who were chosen via purposive sampling. The data were collected through semi-structured interviews and analyzed with MAXQDA software (version 2021), using Colaizzi’s seven-step method. Artists’ experiences demonstrate that engagement with art and beauty triggers significant transformations in various aspects of life, influencing habits, preferences, modes of expression, and even appearance.  The study shows that education involving art and beauty encourages reflection, thinking, understanding, and hands-on learning. CONCLUSION: Special attention should be paid to the relationship between art and beauty and its influence on formal and informal education. Moreover, the principles of aesthetics should be taken into consideration in curriculum planning and teaching, and classroom methods.

As I delve into Imām Riḍā’s civilizational thought, exploring the concept of justice and its implications, I find myself drawn to the parallels between his teachings and those of Jesus Christ. Imām Riḍā’s legacy of justice for everyone and injustice for no one resonates deeply with the core teachings of Christianity, particularly as embodied in the life and ministry of Jesus Christ. Both figures exemplify a profound commitment to mercy, compassion, and the pursuit of righteousness. One striking aspect of Imām Riḍā’s teachings is his emphasis on mercy for all believers, a principle that finds resonance in Jesus’ teachings on love and forgiveness. The example set by Imām Riḍā in praying for the prosperity of all believers reflects Jesus’ call to love one another and to pray even for our enemies. Moreover, Imām Riḍā’s respect for all individuals, regardless of their social status or background, mirrors Jesus’ interactions with people from all walks of life. Both figures demonstrate a deep reverence for the inherent dignity of every human being, challenging us to overcome prejudice and embrace the inherent worth of all individuals. The theme of caring for the needy is another point of convergence between Imām Riḍā and Jesus. Imām Riḍā’s choice to stay with the destitute during his travels and Jesus’ teachings on caring for the poor highlight the shared imperative to uplift the marginalized and alleviate suffering in our communities. Furthermore, both Imām Riḍā and Jesus exemplify affability toward others, emphasizing the importance of kindness, humility, and compassion in our interactions with one another. Their teachings remind us of the transformative power of love and the profound impact of acts of kindness on individuals and communities. Imām Riḍā’s emphasis on forgiving the faults of others echoes Jesus’ teachings on forgiveness and reconciliation. Both figures challenge us to overcome resentment and bitterness, extending grace and mercy to those who have wronged us. Additionally, Imām Riḍā and Jesus share a commitment to humane treatment of all people, regardless of their faith or ethnicity. Their teachings emphasize the importance of respecting human rights and promoting justice and equality for all members of society. Imām Riḍā’s civilizational thought offers valuable insights into the shared values that unite humanity across religious divides. As Christians and Muslims, we have much to learn from one another’s traditions, and through dialogue and cooperation, we can work together to build a more just, compassionate, and inclusive world.