Aesthetics

Perception and employing our ancestors’ properties is of highest importance if the approach of our ancestor’s knowledge share be due to recreating creative designs in accordance to urban space and modern neighborhood. The fundamental needs of human or physical needs of architecture are adoptable because they seek to find a good framework to compare and rank different designs regarding the aesthetic aspects. Through this the strength and weak points in different architecture design particularly in local architecture of Iran can be specified. To do so, by examining Bazar and Timche and comparing and contrasting them with Maslow’s hierarchy of needs, the present study aimed to present a system to rank the aesthetic elements in them. Concepts such as introvert and extrovert in houses, linear and central structure, enclosure, geometry, and space that are the results of the elements of Bazar and Timche have some material and meaning qualities that can be ranked. The benefits to use such perspective by contributing tools such as hierarchy of basic needs provide us with having required confidence toward completeness of a design.

Islam is an integral way of life which considers beauty to be a divine quality. In fact, Islam is the religion of beauty and perfection. Islamic architecture refers to any architecture in Islamic culture or in Islamic context. Islamic architecture exhibits the sacred order of Islam and its distinctive feature is religious aspect. Yet, Islamic architecture is not completely varied from all other architectural styles; even, it borrows from some of them such as Persian architecture. The aim of this study is investigating the importance of beauty and aesthetics in Islamic architecture. Results show that Islam does not consider art and beauty as a luxury. It considers beauty to be a divine quality. Unity is one of main aesthetically concepts which has merged in Islamic architecture; It was called as a base for life cycle and was reflected on art and architecture to such an extent that we can count it as the language of Islamic architecture. Based on this language, Paradise is a perfect epitome in all respects of aesthetics.

Using light as a conceptual metaphor for his main philosophical framework, Mulla Sadra introduces some mystical-philosophical principles such as principality of existence, its gradation, unity, and substantial movement. By applying these principles on aesthetics, Mulla Sadra achieved some aesthetical principles such as the principality of beauty, its gradation, and unity. Having these principles in ontology, aesthetics, and regarding some anthropological principle to confront the complicated problems of art, it is reasonable to construct notions such as angelic art and satanic, wrathful, and carnal pseudo-art. The first is the result of a personchr('39')s emanation who reached high levels of existence; others are due to existential emanations of those who have existential deficiencies. This paper shows that similar to art, love is also of four kinds.

Purpose: The purpose of this study was to explain the aesthetic foundations of Khaje Nasir and Rousseau's ideas in order to develop a model of artistic education for elementary students. Methodology: Based on the stated purpose, the type of research is applied and its method is qualitative (quantitative). The study population in the qualitative section consisted of 17 experts using purposive sampling method and the target population in the quantitative section was 108 teachers of Bandar Kangan elementary school using proportional stratified random sampling method. . In order to collect the required information in the qualitative part, the deductive content analysis and structured interview were used and the researcher-made questionnaire was used to collect the required data. The questionnaire was confirmed by content and face validity and Cronbach's alpha coefficient and spss22 software were used to determine its reliability. Findings: The findings obtained from the qualitative section were extracted in two general categories based on the aesthetic ideas of Khaje Nasir al-Din Tusi and Rousseau and 15 components. Accordingly, ethics, art, divine closeness, values, consciousness, perfection, nature, moral conscience, art, naturalism, community, intellect, aesthetic education are among the aesthetic elements of Khawaja Nasir al-Din Tusi and Rousseau's aesthetic elements. Similarly, structural equation technique using pls software showed that the above mentioned components are 0.95 at the significant level of 1.96 and these factors are effective in children's artistic education. Conclusion: This study showed that artistic education of children is important and has aesthetic characteristics in the development of children which is clearly expressed in the thoughts of Khaje Nasir al-Din Tusi and Rousseau and can play an effective role in the development of humanity of children in all stages of individual life and Have their own community. The naturalistic approach of R. Usu and Khaje Nasir enables students to be more careful about the nature of individuals and to see the sophistication and sophistication of nature and to enhance artistic talent in different fields.

A study of hidden and obvious angles of Iranian works of art, including the discovered artifacts of the ancient Marlik region, shows the rich heritage of this land. The ancient hill of Marlik, despite its tools and utensils, and especially its clay sculptures, is still explored due to its special elegance and beauty. The aim of this study is to have a measure of fit and linear range in Marlik pottery and to get acquainted with its hidden angles. In this regard, the question arises as to how the use of golden proportions and the visual element of the line (as a range) appear in dimensions and sizes of the clay figures. In this regard, 6 index statues have been excavated from Marlik Cemetery and the results showed that 3 clay statues follow the golden ratio of √2, √3, √4 and √5. And they have a good linear range and balance, exaggeration and harmony can be seen in them. In this process, the other 3 statues are not attractive in terms of size and dimensions and do not have the elegance of construction and design. In addition, the two factors of proportionality and linear expansion are in complete unity, and the role of positive and negative space to achieve balance is obvious. The research method here is descriptive-analytical and in the data analysis, the golden proportion approach has been used, as well as the collection of information is documented.

Nowadays, paying attention to the facade and facade design has considerable importance. The facade of the buildings and cons tructions is an essential part of the urban landscape, and thereupon it plays a significant role in urban quality. One of the crucial factors in forming urban landscapes is employing aes thetic measures as touchs tones in the design process. This s tudy aims to reach a set of aes thetic measures from the viewpoint of people in the same society according to the perceptual differences of citizens in the northern and southern regions of Tehran. There are several measures that, by relying on them, we can arrive at an ideal facade design from the viewpoint of people and the building users; designers can also help designers cooperate with the idea and viewpoints of people, their approval in their designs. The following research is done in an applied-analytic method, and gathering the data was done by library and field research and by designing ques tionnaires for the users. By scrutinizing and analyzing the data, it is concluded that the objective criteria are in priority for specifying the beauty in the residential facade.

: One of the tools for the architectural advent form is the structure, while architecture and structures, particularly in our sociable Iran, are separated from each other. Most successful buildings have dominating designers who are proficient in structural issues and have a comprehension of the structural system's behavior. The extent of attention to the structure of the building will inevitably lead to beauty. If the structure has aesthetic considerations, a successful link between architecture and structure will occur. This research seeks to provide a solution and strategies to formulate both architecture and structure. The purpose of this paper is to articulate a sound and desired theoretical foundation in relation to the aesthetics of the architectural form and structure so that achieve a successful link between architecture and structure. The research methodology is applied in terms of the purpose of the research. The qualitative and quantitative research methodology is used to analyze the information as well as to provide analytical tables and matrix analysis in order to summarize the contents. The research has come to the conclusion that constructive requirements, along with functional requirements and aesthetic issues, bring together an unmatched effect. The study of successful works in the world suggests that if one of the subcategories of these three criteria works, it can be considered as one of the most successful buildings in the world. Formation of forces flow can be effective in the aesthetic structure of the structure.

Spirituality is an inner and natural concept and a truth in the heart of the universe that human beings can achieve in the context of travel and tourism, as well as in the path of movement and communication with society, the universe, and God. The revival of high values ​​and indicators aims to create and recreate a new identity and promote to create and recreate the sense of spirituality in a meaningful relationship between tourists and visitors with the environment. The environment and elements in the urban space in macro-planning is a crucial and undeniable issue. This article examines the role of art and architecture in strengthening the spiritual dimension of tourism with an emphasis on aesthetic elements. For this purpose, seven examples of ancient historical and religious buildings in Qazvin, including Saad Al-Saltanah Palace, Chehel Sotun Palace, Aali Qapo Mansion, Darb-e Koushk Gate, Jameh Mosque, Al-Nabi Mosque, and Imamzadeh Hussein (AS), have been studied. Accordingly, by applying an analytical-descriptive approach based on library documents and by using Content Analysis and inferential method, this study identified elements, indicators, and components of aesthetics that lead to promotion the sense of spirituality of tourists in tourist places. These components include environmental psychology, the importance and impact of urban space and landscape, art and perception of aesthetics, beauty and perfection, color and light, geometry and its application in sacred art, geometry in Islamic decorations and patterns, form and structure of Islamic art and transcendent values in Iranian-Islamic art patterns.

Poetry translation deals with many difficulties as translators need to consider socio-cultural, linguistic, dialect, and aesthetic aspects. The poetry translation involves the interpretation of the real meaning of the main text and creates a readable and enjoyable poem in target language as a literary text. Thus, to address such an important aspect, translators have to consider language standardization and signals to the audience. The <em>do-baytis</em> of Baba Tahir written in <em>Fahlavyiat, </em>have specific dialect and aesthetic features in rhyme and meter. This research analyzed the strategies used in two translations of the traditional Iranian couplets - an English prose by Heron-Allen (1902) and a back-translation of English poetry based on Heron-Allen prose by Curtis Brenton (1902). The analysis was grounded on domestication and foreignization. The results show that the dialect was standardized and foreignized through paratextual references. Upon sharing the results with a group of Iranian EFL students in a translanguaging task, it was revealed that they have limited awareness regarding the translation of literary works from Persian to English.  The findings can raise the awareness of professional translators, translator educators, translation students and teachers and those involved in literary translation. 

The aim of the present research is to investigate the relation between phenomenology and language, and to comprehend the cognitive experience by reading a literary work or an aesthetic text. It also addresses the process of pure perception and visualization of an object in the mind and the relation of body to the world within the phenomenal field. The present study delves into John Berger’s A Painter of Our Time (1958) in order to examine the painterly process of expressing an array of human sensations and experience of the world, eventually revealing the truth. The phenomenological philosophy of Maurice Merleau-Ponty enables an intersubjective interaction between “body”, “experience”, language and “perceptual world”. This study thus seeks to address the mechanics of the painter’s mind, exploring the root of being and eventually explaining his style and mute meaning. Focusing on whether visualizing, reading, and thinking through a work of art in a text, could provide an aesthetic experience of the text ultimately brings an aesthetic judgment of a work of art based on the knowledge gained through the literary text. Consequently, the readers, positioning themselves in the synesthetic and experience of the text, develop a new visual and aesthetic experience of the world.

Light and color are effective factors in the creation of works of art, which, as the most immaterial element of nature, have always been influential in Iranian Islamic painting, and in fact, they represent the sublime world and spiritual atmosphere Also, the research about light and color in painting and its impact on painters and its contribution to the scope of expressing the influence of mysticism in the whole Islamic culture and art is at the starting point certainly knowing and understanding the three words mysticism, light and color and finding their meaning and meaning in a symbolic way is not only effective in better understanding Iranian and Islamic painting, but also our insight in understanding the Islamic ideas that are rooted in mysticism and Sufism and It also makes the behavior smoother. Colors have a chemical aspect in art, and mixing them is an art similar to alchemy. The main concern of this research, which is presented in an analytical way, is aesthetics and investigating the mystical aspects of paintings and motifs in Islamic civilization in Iranian art and architecture. It seems that Islamic art and architecture tries to manifest God's unity among colors, forms, lights, and sounds. Each color has a special allegory and a relationship with one of the inner states of man and soul. Color is an important factor for spiritual use in the painting effects of Islamic architecture. Mosques in the Islamic world usually use turquoise green and blue colors. Blue and turquoise colors are the main background colors of walls, tiles, altars, domes, and courtyards and along with the golden color in Iranian Islamic paintings, among other colors, they have a special shine and effect. These colors are manifestations of the inner meanings of colors. The colors of turquoise, green and white, which are symbols of nature's sky and divine light, respectively, are mixed together and add to the majesty of the mosques. The colors that result from the radiation of light are a symbol of the manifestation of unity in multiplicity and the dependence of multiplicity on unity. The reflection of the existence of colors in Iranian art shows an extraterrestrial truth outside the world of the senses, rather than imitating the surrounding natural colors. Vigilance and accurate insight in the arrangement of colors and the correct selection of each color refers to a symbolic concept of colors and their mutual effects that permeate the human soul and spirit.

Nature has aesthetics of its own, what can provoke the human mind into better recognizing the concept of beauty via mental perception. As such, human mind can interact with the nonverbal expressions of nature only to better his/her primitive aesthetic knowledge and reach a more novel recognition of aestheticism via the practice of interpretative deduction. This article has been the result of a series of discussions and dialogues between the authors on the nature of aesthetic geotouring and exploring the natural phenomena based on the Dialectical Method of Socrates and modelled after the Platonic dialogues. The outcome of this dialectic study brings to light the fact that touring in nature through providing the due opportunity for mental perception of aesthetic phenomena can provide a clearer definition of ‘beauty’ in its rich variety. Aesthetic search as such will culminate in forming a more illuminated mental concept of beauty in mind, what can influence human rationale for aesthetic judgment and enrich even more the texture of human aesthetic creation. Such aesthetico-interpretative endeavor might lead to a higher potential for creating more original works of literature and art and culminate in a better judgment about such aesthetic creations.        

The article presents the results of an aesthetic study of content and visual forms on Instagram, a relatively new social media platform. The study focuses on how the products of digital technology, understood as new artifacts within the postmodern aesthetic framework, have been taken up within the digital culture. The results of the research help us to understand the characteristics of this new social media platform, indicating that Instagram has been highly successful in changing aesthetic criteria and standards and creating new aesthetic forms and content.