List of Articles art

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  1 - Formalization of Knowledge and its Effect on the Theory of Imitative Images: An Analytic-Descriptive Study of Farabi’s Thought
  Ebrahim  Bazargani
  According to Farabi, knowledge means the acquisition of form by the mind or the intellect. He also considers the idea of imitative images as an artistic theory which an artist employs in creating images. Therefore, “from” is the link connecting Farabi’s epistemological More

  According to Farabi, knowledge means the acquisition of form by the mind or the intellect. He also considers the idea of imitative images as an artistic theory which an artist employs in creating images. Therefore, “from” is the link connecting Farabi’s epistemological and philosophical-artistic theories; without the existence of form, neither will knowledge be realized, nor imitative images will gain perfection. In this paper, the writer has tried to discover the relationship between Farabi’s epistemological and artistic theories following an analytic-descriptive method. In doing so, he considers the items listed below to be the most significant purpose that can be followed given their logical order in Farabi’s philosophy: 1) Attaining the theory of knowledge 2) Discovering the theory of imitative images and disclosing the content of this theory 3) Understanding the relationship between these two theories 4) Demonstrating that the theory of imitative images is purely based on the formalistic theory of knowledge Manuscript profile
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  2 - Manifestation of Sadrian Philosophy in Islamic Architecture
  Behrooz  ‘Avazpoor Bahman  Namvar Motlagh Saina  Mohammadi Khabazan
  Mulla Sadra’s philosophical thoughts profoundly influenced the development of art, in general, and the architecture of his time, in particular. Therefore, it seems necessary to carefully examine and discuss his ideas and theories in this regard in order to have a better More

  Mulla Sadra’s philosophical thoughts profoundly influenced the development of art, in general, and the architecture of his time, in particular. Therefore, it seems necessary to carefully examine and discuss his ideas and theories in this regard in order to have a better and more accurate understanding of the art and architecture of that period. Since the concept of imagination plays a basic role in the definition of Islamic art from the point of view of Mulla Sadra and other Islamic philosophers and gnostics, in this paper the writers firstly deal with a part of his philosophy that explains this concept. Following this, they will refer to the role and place of imagination in art works in their general sense and explore the actualization of such works in the field of architecture, particularly, those of the Safavid era. Imagination plays such a central role in this discussion that one can define Islamic art in its general sense as the manifestation of an intelligible matter in a sensible one through active imagination. Manuscript profile
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  3 - Place of Certainty in Five Arts in Farabi’s View
    Fattaneh  Tavanapanah
  Farabi attends to certainty in all the five-fold arts of logic in some way. Certainty is either essential or direct in an argument, while it is either accidental or indirect in other arts. In the art of dialectics, the well-known propositions for presenting dialectical More

  Farabi attends to certainty in all the five-fold arts of logic in some way. Certainty is either essential or direct in an argument, while it is either accidental or indirect in other arts. In the art of dialectics, the well-known propositions for presenting dialectical affirmations are employed in order to attain certain knowledge. In the art of sermon, certainty is emphasized in the form of satisfactory affirmation in proportion to the addressee’s level of perception and as the framework of sermon-related activities and the criterion for quality control. In the art of poetry, imaginal matters are related to certainty in terms of concept and judgment. Fallacy is also related to certainty through using pseudo-propositions, such as pseudo-certainties in two positive and negative dimensions. Therefore, the place of certainty in each of the dialectical, rhetorical, poetic, and fallacious structures is of great significance, and one can observe an instrumental relationship between these four arts and the argument. Manuscript profile
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  4 - The Relationship of Poetry with Consideration and Truth Based on ‘Allāmah Ṭabāṭabā’ī’s Theory of Mentally-Posited Things
  Jamal Ahmadi Seyyed Mehdi Emami Jume Emami Jume Mohammad Javad  Safian
  20.1001.1.15600874.1401.27.3.2.6
  In ‘Allāmah Ṭabāṭabā’ī’s view, poetry and mentally-posited perceptions have such a close relationship with each other that he describes such perceptions through using poetic similes, allegories, and metaphors in his book of The Principles of Philosophy and the Method of More

  In ‘Allāmah Ṭabāṭabā’ī’s view, poetry and mentally-posited perceptions have such a close relationship with each other that he describes such perceptions through using poetic similes, allegories, and metaphors in his book of The Principles of Philosophy and the Method of Realism. This study explores the relationship between poetry and mentally-posited perceptions through referring to those works of ‘Allāmah Ṭabāṭabā’ī in which he discusses the theory of mentally-posited things. The significance of this relationship lies in the fact that, by investigating the relationship between these two variables in different philosophical, gnostic, and interpretive works of ‘Allāmah, one can inquire about the relationship of poetry and positedness with fact-itself truth. The findings of this study indicate that mentally-posited things are the same as Man’s poetic view of the world or an eye with which Man can see everything. This poetic world, while being irrational and non-inferential, can speak of truth through allusions. Accordingly, it can be claimed that the theory of mentally-posited perceptions in Islamic philosophy has opened a new window to attaining the knowledge of truth. Manuscript profile