چکیده:
Background and objectives: Islamic art, based on its commitment to show beauty in the fluid bed of its own and the audience's thinking, should not be reduced to a false level and the expression of empty emotions, and it is necessary to correct its process based on the use of unitary principles in order to produce works of art appropriate to contemporary intellectual crises. Taking advantage of the concepts of "descending course of the names of Allah", "the relationship between form and meaning in the work of art" and "the truth of beauty and beauty" in theological texts related to the topic and redefining the values and finding the meaning of the influence of the monotheistic and Islamic worldview in order to introduce attention, can lead the thinking of Islamic art to create sublime art.Methodology: The present research is of a qualitative type and using library tools and under the content analysis approach, it has investigated the philosophical, mystical and literary texts available in the sources of Islamic art and tried to identify common monotheistic propositions in line with the topic.Findings and results: In Islamic thinking, the artist is a mediator in expressing God's beauty, which shows the act of art as the continuity of the relationship between the creator and the created, and as a multiplicity of attributes and diverse manifestations of the manifestation of the names of Allah in endogenous and exogenous reality. This creativity, which is indebted to the divine creation and the exploratory intuition of the artist, is manifested in the connection of form and content with various artistic formats, and owes its origin to the concept of divine unity.
خلاصه ماشینی:
100881 Article Type: Research Exploring the position of transcendent thought in Beauty and the Emergence of Islamic Art Bani Asadi Baghmirani 1, Ali Asgari 2 Background and Objective: Islamic art, based on the commitment it has to manifesting beauty within the context of its own thought process and that of the audience, should not descend to a superficial level or the expression of empty emotions; rather, correcting its course based on utilizing a monotheistic foundation toward producing artistic works compatible with contemporary intellectual crises is essential.
Utilizing concepts such as "the descending process of the Names of Allah," "the relationship between form and meaning in an artistic work," and "the truth of goodness and beauty" in theological texts related to the subject, along with redefining values and meaningfulness through the influence of a monotheistic and Islamic worldview to introduce certain perspectives, can lead the thought of Islamic art toward the creation of transcendent art.
38 رت وتبيت اسل مي بصي literature; for example, transcendent art in contemporary literature has been presented as "the maker of human life" (Jafari, 1999), "the manifestation of the truth of the unseen world" (Madadpour, 2008: 1387), "freedom-seeking in the Islamic uprising" (Mazloumi, 1981: 53), and "the depiction of divine beauty" (Nadim, 2007: 118), and the artist with attributes such as "the intermediary of the language of the unseen" (Bikzadeh Shahraki, 2014), "the one brought near to the vision of the beauty of Truth" (Rikhtegaran, 2001), "the witness of the world of divine symbols" (Fallahfar, 1998), "the one relying on the divine school" (Mazloumi, 1360: 52), "the one who represents sacred truths" (Tajedini, 1995), and "the keeper of the treasures of the unseen" (Avini, 1995) has been proposed and expressed.
(
, 
, 
)
