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Perceiving beauty is, in fact, a perception that is originated in mystical-experimental religiosity. In this regard, Molavi's view is not a mere theory; rather it is an expression of his practical experience and inner conduct. In his experience, love precedes the Good and God is situated on top of the pyramid of the Good. Molavi takes love as his most important object and searches perceiving beauty in God. Through conceiving beloved in God, the lover achieves high stages of perceiving the divine Good. In Molavi’s view, beauty is reflected in men's perception before it is realized in its external manifestations. And this is exactly the meaning of relativity in the conception of beauty and evil. In this connection, even the most evil manifestations of vice are considered. Perceiving beauty does not attempt to negate the evil in this world by philosophical simplifications and deification of beauty. In fact, it reveals its inner beauty through a profound interpretation of the evil. Molavi uses the parable of a painter in this context to interpret the world with a perception of beauty. The painter here is someone whose most important feature is beauty and is skillful in creating beauty. Therefore, Molavi's worldview of the Good is not just a theory. Neither is it merely a philosophical solution for negating evil. It is rather the natural result of his reconciliation with the world.

 

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‘Love’, which has been so generously bestowed by God upon the inner and outer worlds of human beings is a fundamental and pivotal issue; since it has its roots in the nature of man and the essence of life, and attracts them subconsciously. Pluto (270 AD, p.203 or 204) and Molana (604- 672 Lunar) are among those thinkers, who have talked about and artistically elaborated on love and its related concepts. Influenced by the different thinking atmospheres of their time, their incompatible civilizations as well as other variables of their time that have differently affected them, the two high-minded elites, who had greatly affected the thinking of other thinkers educated by them, were led to view love differently. The examination of the reflections of Neo-platonic thinking in the literary and theosophical texts including Molana Jalal-o-Din Balkhi’s Masnavi is important in many ways, and the important phenomenon of love is a profound and mysterious concept that, in a way, connects Plato’s theosophy with that of Molavi. Certain concepts in the reviewed works of these prominent characters, which have sometimes been taken as identical and influenced by each other, do seem different in some cases.  Despite a huge time gap –almost a millennium- between the writing time of “a collection of Pluto’s woks” and Molana’s Masnavi”, this paper aims to compare and contrast the concept of love in these two works through the library method of research using descriptive, inferential and analytic approaches to scrutinize some manifestations of similarities and differences between the viewpoints of these outstanding figures in the realm of insight and wisdom.

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Defining beauty is one of the most critical issues in philosophical aesthetics. Walking philosophers have brought or referred to the concept of "perfection" as one of the main elements of the definition of beauty. After explaining the views of Avicenna and Aquinas in this field, this research deals with the question of what is the place of the concept of perfection in the definition of the beauty of both of them. This research is descriptive-analytical. In the collection, it uses the library method, and in the analysis, it uses the qualitative method. The results of this research show that beauty is essential in the view of both philosophers about tangibles and abstractions. From Avicenna's perspective, the perfection of the senses should have three aesthetic elements: good order, good composition (composition), and good moderation. Aquinas also uses the concepts of pleasure, proportion, and clarity in his definitions. These elements in the definitions of beauty can be evaluated in some way in connection with the idea of the second perfection.
 

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Allameh Muhammad Taqi Jafari has many and varied discussions on ethics, and by searching through these discussions, one can arrive at a coherent theory about moral value from his perspective. He has an aesthetic interpretation of moral value, and he believes that moral value at its highest level negates any utilitarian view. According to Allameh, Jamal Mutlaq, the beauty of God, is incapable of any explanation, but at a lower level, on an abstract level, a single explanation can be provided for different types of beauty based on the concept of harmony. The theory of existential fitness on moral value has significant similarities with Allameh Jafari's theory of moral beauty, and the important distinction between the two is in the issue of explicability of God's moral beauty. In this paper, a formulation of Allameh Jafari theory of moral beauty is presented and the extension of that theory in the theory of existential fitness is clarified.
 

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Dark nature and Contemporary Persian Poetry Dr. Fateme Kupa(Associated Professor in Payam’e Noor University-center of Tehran) Mohsen Esmaeili Abstract: One of the nature-oriented characteristics of contemporary Persian poetry is paying attention to nature aspects and the objective world, that is because of application of darkness, twilight spaces obscure, mysterious and frightening atmospheres which are associated with boredom, outrage, ruin, downfall and naught for readers . These kinds of images in this research are called “Dark nature”. To bring in “Dark nature” is the cause of philosophic, socio-political changes and designing new ideas in aesthetic and anthropology topics in two last centuries of Europe. In this article, first of all, the effects of all factors are examined, then how they emerged in persian poetry will be discussed . Keywords: Naturalism, Dynamic Organism, Beauty and Sublimity, Reification.

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Love in and traditionally wellness of soul mate in all around the world is pleasurable. It seems that soul mate of all poems and lovers is common in one feature: i.e. beauty ; the various characters of beauty will be different from land to land and from eyes to eyes ; Iranian and Arabic culture , with common origins, in many of literatures such as soul mate description, have great similarities. As far as meeting with love and beauty of soul mate looks and individual and personal object; the issue of effectiveness and impact between Iranian and Arabic culture are drawn. This effectiveness will be more clear by comparing two poems , especially the wars such as Noz’hat al-Majales by Jamal Khalil Shirvani on farsi in 7th century and Loving and beloved and the Musk and Brew by seri al-refah , in 4th century.
this work surveyed common themes in aesthetics and imagery of soul mate hair in Arabic and Farsi poem, by descriptive – analytical approach and comparative studies.
It is clear the in this assessment, our final achievement is not only comparing the work’s content and the minutes related to any bit , but also is expected pursuit of quality and expression and reflection of one of soul mate lover in both Arabic and Farsi poem. In fact, we have tried to ensure that how Iranian poet and writer deal with Arabic themes and works and how had concept, select, and seizure themes and imagery of hair.

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According to the “Theory of Abjection”, the subject, upon entering the domain of the symbolic order, considers what he recognizes as alien and dangerous object for the borders of his subjectivity as “abjection” and tries to reject it. Julia Kristeva considers the literary text as a superior sign of abjection, a place where the author displays the contamination of people's souls and whatever causes these contamination, so that people can achieve exaltation and purification by using words and phrases and creating a suitable atmosphere. The present study, with descriptive analytical method, investigates and compares abjection in two works of The Beauty Queen of Leenane and Prince Ehtjab from two different countries in order to investigate the root of traumas and abjections of the Prince and Maureen’s soul through symbolic order. These two characters are looking for their innocence and removing the abjections from their lives, and they imagine that they are trying to join the pure order. In this regard, they use various methods such as denying the mother-child relationship, denying the mother as an abjection, trying to defend the privacy of subjectivity, struggling to remove the abjection and using unpleasant words. But in the end, their efforts are useless and they themselves have somehow become abjected, their hands are bloodstained and they drown into nothingness.

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Art has not been extensively discussed in the Islamic tradition, except a few instances in the Islamic Jurisprudence. There is no discussion of the essence or definition of art in Islamic scholarly spheres, including philosophical spheres. One can find nothing comparable to the philosophy of art as found in the Western philosophy, especially after the Eighteenth century, in the philosophical or mystical works of Muslim scholars, except a few references to similar discussions in the Islamic mystical works as part of their larger discussions on Futuwwat-namahs or on light. However, there are extensive discussions on beauty in Islamic scholarly literature. Most philosophers have mentioned beauty as part of their discussion on existence. Some mystics also after discussing the beauty of God,  have discussed about beauty in itself, expounding such terms as jama`l, husn, malaha, and so forth.Therefore, beauty and art in the Islamic tradition have to be discussed independently, and not in the framework of Western philosophy. What we have in Islamic tradition is aesthetics in its non-sensible kind. We have to avoid imposing Western philosophy on Islamic philosophy. Searching for common terms is not the right way for finding an Islamic philosophical system compatible to the Western philosophical system, relevant to the art that has developed in the context of Islamic culture and civilization.    

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