The importance of aesthetics in perceiving urban landscape seems to be essential. Usually, the subject of aesthetics holds a position in ideas and viewpoints of philosophers. In Islamic perspective all the creatures are beautiful due to their connection to the creator of all the beauties. In this research, the subjects such as landscape perception, landscape aesthetics, perception in viewpoints of Iranian Islamic philosophers, and aesthetics in both Holly Quran and ideas of Iranian Islamic philosophers are surveyed and analyzed.
The purpose of this paper is to obtain some answers for these two questions: what are aesthetics indicators in Islamic view? How is landscape perception explained by these indicators? This is descriptive-analytic research. The findings are that Islamic philosophers consider absolute beauty, God, as origin of all the beauties. On the other hand, Islamic philosophers are believed to be holistic, using atomistic approaches. In addition, consideration to both subjective and objective axes in landscape aesthetics is thought to be necessary. Finally, indicators and components of Islamic aesthetics are introduced and landscape perception is provided based on these indicators in two fields of sensory-visual and social perceptions according to three perceptual fields of sensory, imaginary, and rational.
The importance of aesthetics in perceiving urban landscape seems to be essential. Usually, the subject of aesthetics holds a position in ideas and viewpoints of philosophers. In Islamic perspective all the creatures are beautiful due to their connection to the creator of all the beauties. In this research, the subjects such as landscape perception, landscape aesthetics, perception in viewpoints of Iranian Islamic philosophers, and aesthetics in both Holly Quran and ideas of Iranian Islamic philosophers are surveyed and analyzed.
The purpose of this paper is to obtain some answers for these two questions: what are aesthetics indicators in Islamic view? How is landscape perception explained by these indicators? This is descriptive-analytic research. The findings are that Islamic philosophers consider absolute beauty, God, as origin of all the beauties. On the other hand, Islamic philosophers are believed to be holistic, using atomistic approaches. In addition, consideration to both subjective and objective axes in landscape aesthetics is thought to be necessary. Finally, indicators and components of Islamic aesthetics are introduced and landscape perception is provided based on these indicators in two fields of sensory-visual and social perceptions according to three perceptual fields of sensory, imaginary, and rational.
The importance of aesthetics in perceiving urban landscape seems to be essential. Usually, the subject of aesthetics holds a position in ideas and viewpoints of philosophers. In Islamic perspective all the creatures are beautiful due to their connection to the creator of all the beauties. In this research, the subjects such as landscape perception, landscape aesthetics, perception in viewpoints of Iranian Islamic philosophers, and aesthetics in both Holly Quran and ideas of Iranian Islamic philosophers are surveyed and analyzed.
The purpose of this paper is to obtain some answers for these two questions: what are aesthetics indicators in Islamic view? How is landscape perception explained by these indicators? This is descriptive-analytic research. The findings are that Islamic philosophers consider absolute beauty, God, as origin of all the beauties. On the other hand, Islamic philosophers are believed to be holistic, using atomistic approaches. In addition, consideration to both subjective and objective axes in landscape aesthetics is thought to be necessary. Finally, indicators and components of Islamic aesthetics are introduced and landscape perception is provided based on these indicators in two fields of sensory-visual and social perceptions according to three perceptual fields of sensory, imaginary, and rational.

A huge part of culture and oral literature of any nation is popular literature. This type of literature includes habits, traditions, legends, beliefs, rituals, customs and proverbs of nations. Popular beliefs in any land indicate the elevation of the culture and civilization of that society, which over many years, have become important and essential resources in the possession and employment of poets and writers in the whole world, especially poets and writers of the Persian language. Mulla Mohammad Rafi Qazvini, a devoted preacher, is one of the famous scholars, Khutba, writers and poets and the owner of the style of the Safavid era in the 11th century of Hijri, who used a new form of language, preferring the throne and the school of the street and the market over the throne and the school. Safavid sultans, following their predecessors, thinking with the poets of their time, depicted popular beliefs and opinions in different forms in their poems. In this research, with the descriptive-analytical method and the use of library sources, most of the popular beliefs and opinions, in the whole of the poet's sonnets, extensive verses and quatrains, were extracted and examined by providing example evidence from previous prose and verse texts and poets of the same style. The result of the research is that in Vaez's poems, especially the sonnets, inspired by the poets of the Indian style, especially Saeb Tabrizi, there are popular beliefs, along with other poetic meanings and themes, due to the horizontal connection of the sonnet verses and the use of the artistic and literary phenomenon of the equation of frequency style. 
Research background
Regarding the popular beliefs in the preacher's poems, no research has been done so far in the form of books, articles, master's theses, and doctoral dissertations. The present study is the first research work that has investigated and analyzed the popular beliefs and opinions in the poems of Vaez Qazvini, by providing example evidence from the previous prose and verse texts and contemporary poets of the time. The studies that have been done in the field of Qazvini's preacher and his poetic features are: Alimi et al. (2019), which investigated and analyzed the association of meanings in the poems of Waez Qazvini based on the innovative techniques used in the poems of Waez Qazvini; Najarian and Hatampour (2016) analyzed the literary industries of Vaiz Qazvini's Chapters of Al-Jinan; Najarian and Hatampour (2012) studied the effectiveness of the Qazvini preacher from the book of Varam in the context of Kabar and Ajab, Riya and Sama; Babaei (2023) has investigated and analyzed the didactic literature in the poems of Vaez Qazvini.   

Goals, questions and research methods
The author's goal is to investigate and analyze the popular beliefs and opinions in the whole of the Ghazals, and scattered verses and quatrains of Waez Qazvini. The following questions have been answered in this research:           
1.What is the position of folk beliefs in Vaez Qazvini's poem?       
2. Considering Waez Qazvini, and his predecessors and thinking with the poets of the Safavid era, how has he depicted popular beliefs in his poems?     
3. How, Vaez Qazvini, inspired by the poets of his style, especially Saeb Tabrizi, has benefited from the artistic and literary phenomenon of the equation style in dealing with popular beliefs?                          
The research method was library and descriptive-analytical. First of all, the study of books and articles that have mentioned the topic under discussion were reviewed. In the next stage, all the poems, scattered verses and quatrains of Waez Qazvini were studied carefully, and most of the popular beliefs and opinions were extracted

Discussion and conclusion
Mullah Mohammad Rafi Qazvini, nicknamed the preacher, is one of the famous scholars, khutba, writers and poets and the owner of the style of the Safavid era in the 11th century of Hijri, who used a new form of language, preferring the throne and school of street and bazaar to the throne and school of sultans. He followed his predecessors and portrayed popular beliefs and ideas in his poems in different forms. The phenomenon of the imagination of the equation style, inspired by poets of the Indian style, such as Saeb, plays an essential role in the expression of popular beliefs and ideas used in the poems of Vaez Qazvini. In allegory, characters, times and places are usually changed. Allegorical characters are usually animals and inanimate objects. Because these objects have behaviors similar to human behaviors, they find a kind of humanity. That is, they become owners of thoughts, actions and personalities like humans (Mohammadi, 1995, p. 141). Allegory and equation style is one of the most important coordinates of Indian style, but it was also used in earlier styles such as Iraqi style and Khorasani style. However, in Khorasani and Iraqi poetry styles, the allegory is mentioned in one verse and the allegory in another verse. The main difference between the parables of pre-Indian styles and this one is in the number of stanzas. Parables of the Indian style are generally presented in one stanza and those of other styles in more than one stanza. In other words, parables can be divided into two categories: 1.  Compact parables, 2.  Extended allegories. Allegories of Indian style, compact allegories, allegories of other styles, are generally broad allegories (ibid, pp. 142-143).
In this study, most of the common beliefs of the preacher's poems, within the scope of sonnets, scattered verses and quatrains of the poet, have been extracted from the beginning to the end, and by citing examples of evidence from earlier prose and verse texts and contemporary poets of the poet and those after him, a detailed examination has been conducted. Beliefs and ideas can be seen in the poems of Safavid poets, which were not seen in the poems of previous poets, and the signs of those beliefs and ideas cannot be given. Waez Qazvini, inspired by his predecessors and poets of the same style, has depicted popular beliefs in different forms in his poems. By examining Waez's poems, especially his sonnets, it can be seen that in common with poets of the Indian style, such as Saeb Tabrizi, popular beliefs have a very wide reflection due to the horizontal connection of the verses of the sonnet and the use of the imaginary element (the style of simile). The only innovation of the poet is in presenting popular beliefs in comparison with previous poets.

In 1321, Seyyed Hadi Haeri (Kourosh) published a collection of poems by Aref Qazvini that had previously appeared in the book Selections from the Divan of Aref Qazvini (edited by Sir Dinshah Selisiter Irani) and Arefnameh of Hazar (a compilation of correspondence between Aref and Mohammad Reza Hazaar Shirazi), along with several other poems, under the title Volume Two of the Divan of Aref Qazvini at the Golbahar of Kerman Trading Company (in Tehran). In 1372, Haeri published the book Unpublished Works of Aref Qazvini, which pursued the changes, distortions, omissions, and other transformations in Aref's poetry intending ideological, religious, political, and expedient motivations. He followed his tasteful changes, to correct linguistic errors (grammatical, logical, semantic), slips of the tongue, and prosodic issues from this book, to erase Aref's sharp criticisms of the clergy, to reshape him as an anti-Reza shah figure and an opponent of monarchy, to eliminate Aref's (national poet) satirical and biting remarks, and finally to use omitted verses with arbitrary manipulations in fake poems.
Extended Abstract
In 1993, Javdan Publications released a book by Haeri with the alluring title The Unpublished Works of Aref Qazvini. In this book, Haeri fabricated poems and falsely attributed them to Aref, creating a significant source of deviation in both the publication of Aref’s collected works and the literary study of his poetry and thought. Haeri’s fabricated poems, attributed to Aref, found their way into various collections of Aref’s works, leading researchers to base their judgments about Aref on these inauthentic pieces. Haeri included numerous related and unrelated details and images to bulk up the book, without attaching a single original document or manuscript by Aref to prove the authenticity of works. Instead, he provided only the assertion that "this poem has not appeared in any of the previous editions of Aref’s collected works and is being published for the first time", thereby misleading readers. Regardless of the evident inconsistencies between these poems and Aref’s poetic and intellectual style, it remains highly implausible that there would be no surviving manuscript of even a single verse from any of these dozens of alleged poems. Moreover, one may wonder why not a single verse from any of these dozens of alleged poems has appeared in newspapers or within Aref’s known letters or notes. For this very reason, Haeri has refused to offer an explanation on how he accessed these poems, as there was no authentic source he could cite. Being a poet with his own collections and manuscripts, he could easily alter the works of other poets—and indeed, he did. With conscious intent and varied personal motivations, and relying on his own personal flair, Haeri deliberately distorted and ruined Aref’s collected works. Disregarding the authenticity of the text, he took on the role of an arbitrary editor, removing the grammatical, metrical, and semantic deviations in Aref’s poetry in an attempt to accentuate the distinctions in his edition and elevate his own work. Haeri appropriated Aref's voice to fiercely criticize Reza Shah, defend Modarres, confront Iraj Mirza, and yield to the deceitful clerics. Aref, in his poetry, launched fierce attacks on two traditional power structures in Iran: the political institution (the Qajar dynasty) and the clergy. In turn, Haeri endeavored, through various means, to neutralize the sharpness of Aref's critique of the clerics and the religious establishment. Furthermore, Haeri, who harbored a deep disdain for Reza Shah, resolved to portray Aref as an anti-Reza Shah figure by distorting his poetry. To achieve this, he resorted to deletion, alteration, transformation, and fabrication of verses.
Haeri's motivations for deleting, altering, transforming, and fabricating verses can be framed as follows:
1. Religious Ideological Motives: To eliminate Aref's fiery criticisms of the clergy and religious institutions.
2. Political Ideological Motives: To portray Aref as an anti-Reza Shah and anti-monarchy figure.
3. Expedience-driven Motives: To remove obscenities and harsh language.
4. Taste-based Changes and Correction of Linguistic Errors: Grammatical, logical, semantic errors, and metrical inaccuracies.

Incorporation of Omitted Verses into Fabricated Poems.
The distortions stemming from religious ideological motives are sometimes so intertwined with political ideological motives that they become inseparable. The collected works of other poets like Bahar, Iraj, Lahouti, Farrokhi, Nasim-e-Shomal, and even Mirzadeh Eshqi, as well as other Constitutional-era poets up until today, have seemingly remained unaffected by such massive manipulations. In fact, no poet’s work in this century has been so profoundly disordered, nor has an enormous volume of fake poetry been attributed to them. The present study was an attempt to uncover a major literary forgery of the past century. By relying on textual evidence and arguments, it seeks to exclude numerous fabricated poems, which have been falsely attributed to Aref and have infiltrated literary research and studies, from his authentic collected oeuvre.