نوع مقاله : مقاله پژوهشی
1 دانشجوی دکتری گروه فلسفه هنر، واحد شاهرود، دانشگاه آزاد اسلامی، شاهرود، ایران.
2 دکتری تخصصی، دانشیار گروه پژوهش هنر، دانشگاه هنر، تهران، ایران.
3 دکتری تخصصی، استادیار گروه هنر، دانشگاه تهران، تهران، ایران.
عنوان مقاله [English]
During the Safavid reign (907-1135 AH), art and industries entered a new stage of prosperity. Conversely, various arts experienced many diversities during this historical period. From the point of view of the philosopher, this alternation is far from symbolic and many have investigated these changes and their fundamental causes; Therefore, it is worth considering their views on the arts and industries of this period. The method of conducting the present research is descriptive and analytical based on library sources. The findings of the research indicate that, according to the philosophers of Peripatetic School, the survival of the work of art is possible with the principal behind it and the immortality of the artist's name with knowledge, imagination and the ability to express meaning. In this historical period, art as a virtue, is common to all members of society regardless of their class. In Iran, the main duty of princes is to protect the property, religion, orderliness of the land and its achievement towards prosperity, excellence and the spread of justice. The excellence and understanding of land affairs, including the correctness of accomplishments by professionals, is influenced by the performance and thinking of Shahriar Sahib Farah or Shahriar. Mirfendersky in his treatise on industry claims that the industry is declining and its intensity is decreasing; this means that the Safavid princes have made mistakes, lost their dignity and increased their cruelty. One of the most important factors for society to achieve happiness; thinking, creativity, perseverance and avoiding complacency in work is based on necessity under the supervision of the wise ruler.
1. Investigating Safavid art and industry from the perspective of the Peripatetic School.
2. Exploring and associating the art of the Safavid era with Mirfendersky's theory.
1. What are the cultural factors influencing the formation process of signs and symbols in Islamic art that are perceived from the productions of occult sciences?
2. How can the expression of "mystery" in Iranian-Islamic works of art be studied and analyzed with the eco-cultural semiotics approach?