In Sadrian philosophy, the intellect, religion, and intuition have come together in a rational way in order to pave the way for the acquisition of knowledge and attaining the truth. Being inspired by Shaykh Baha’i and Mir Damad, Mulla Sadra presented a new manifestation of Islamic philosophy through relying on insight alongside tradition and benefitting from intellection alongside devotion and intuition. With the rise of the Transcendent Philosophy, many religious principles and profound philosophical ideas of the People of the Prophet's Household have been clarified and perceived after centuries of philosophical debates. In fact, several religious, gnostic, and philosophical views and principles have completely reconciled with each other in this school.In the Safawid era, which is the period of interaction of philosophy and religion and adoption of a religious nature by all teachings in the world of Islam, gnosis greatly influenced the mind of philosophers, theologians, and jurisprudents. As a result, the theoretical and practical Islamic teachings (Peripatetic philosophy and Illuminationist philosophy, kalam, gnosis, and jurisprudence) came together and created a kind of rational thinking which mixed with religious and dhawqi (related to intellectual intuition) thinking.The Islamic teachings and beliefs and the ideas of the philosophers of the Safawid era have now affected all the common artistic modes and forms and, as a result, truth, wisdom, and unity have appeared in Islamic art. Presently, the liveliness and energy of Islamic art is rooted in the inner presence of Muslim artists in the sacred realm of religion and holy and prophetic innermost.

The word “Eslimi” which has been coined to name a special motif in Iranian art is one of the most frequent words in the field of Islamic Art. Various research has been done on the initial origin of this Arabesque tracery and its historical development and evolution in Islamic Art,however, no research has been done to exclusively deal with the word " Eslimi" itself. It is evident that every name has its own denotation and connotation. As such, the present research is to reveal the meaning hidden behind the word "Eslimi" so as to help a more complete understanding of this tracery. In so doing, two aspects appear to be of greater importance. First, the word “Eslimi” is seemingly originated from an Arabic root meaning "surrender",Second, there is a relationship between this arabesque and its pattern mediated by “prayers” as the most important practical teaching of Islam. The current qualitative research is of a descriptive-analytical nature, which also deals with the fields of semantics and etymology to some extent in the analysis of concept and meaning of the word. The results show that the word "Eslimi" was first invented in Persian language and was not influenced by any of the word-formation rules of Arabic namely Imalah and Qalb. Whether the word is forged from an Arabic root or made from an existing root in the ancient languages ​​of Iran, it is synonymous with the word "Islam" –according to historical sources– with the most obvious meaning of "surrender","Islam” is one of the most fundamental words in the Holy Quran. All in all, this arabesque tracery can be considered as a symbol that embodies elements of the prayers and expresses the submission and the surrender of man to God.

Abstract: According to the theories of orientalists and philosophers of art, the so-called phenomenon of "Islamic theory of art" is unattainable and Islamic art should only be studied posteriorly and historiographically. This paper tries to study the possibility and nature of the "Islamic theory of art" as per the opinions of Sadraian philosophers who consider this philosophy in accordance with Islamic principles, thus taking the first steps in explaining this theory. Viewing the discoursed topics, it can be said: thanks to the use of the Quran, intellection and mysticism in Islamic philosophy and especially the transcendent wisdom, they have established such a system and intellectual structure that has reliable foundations and has the capacity to develop a theory of art from it. Furthermore, due to the fact that this school of philosophy rests on the Islamic teachings that favors and makes use of art in the promotion of true knowledges considering divinity as the origin of art, one can develop the Islamic theory of art from such a school of philosophy.

As Iranian thinking puts it, the etiology of art and crafts has never, been regarded as an independent branch of wisdom; rather, it falls in the category of virtues and manliness. This attitude has been transformed by Iranian artists and craftsmen into an arena for the sake of closeness to the Supreme Divinity with the advent of Islam and by means of such transcendental concepts as goodness, beauty, order, and embodiment of existential levels in the light of Divine Unity.Thus, the main research question was: In what moments is the origin of this transformation toward a transcendental view concealed as regards the working manner of the Iranian artists and craftsmen? In this regard, it is concluded that Iranian arts and crafts were transformed into a context for experiencing the aesthetics of transcendental thinking by bright-minded professionals via such components as Fotovat-Nameh, i.e., books on Manliness and learning and teachings manners of techniques and craftsmanship. This research used a descriptive-analytical method and data has been gathered through library methods

A significant number of authors, who have debated the characteristics of Iranian arts within philosophy, believe that imaginary and the ideal worlds are the sources of visual arts. They believe that the artist’s imagination, in its rahmanian aspect is the origin of the creation of a real work of art .This research has aimed to explain the world of ideas by means of the characteristics of Iranian visual arts.To achieve this aim, quantitative analysis has been employed to investigate the relevant study materials. On this basis, imagination has been employed by the artist to reach the world of ideas, which is a middle world between materiality and spirituality. The world of ideas contains detached and connected parts. Detached 7 part shapes the generous imagination and connected part illustrates the sensual mind. However, not everyone can realize the detached part; thus, Iranian artists have used pictorial methods to transfer the heritages of the world of idea.Traditionally, it would be ideal if the Iranian artists could use the detached world of idea as a source of inspiration. They were already inspired by the ancient world to use some symbols in order to reflect the generous imagination inside their virtue. This method has been supported by mystical tradition during Islamic age. Therefore, this hypothesis can be raised that the ideal world is the major aspect of Iranian art before and after appearance of Islam.

Mulla Sadra has referred to the Arts as "delicate indus tries” and he refers to the type of poetry composed by the wise artis t as "wise poetry" and mentions the wise artis t. These two are the basis for the generalization of wise poetry to wise art in this s tudy. Explaining the levels of wisdom, introducing the obs tacles to achieving it and explaining the salient features of wise art are some of the topics that this paper addresses. Due to the intertwining of the soul, the seeker of wise art puts all aspects of the sensory powers, imagination, emotion, theoretical and practical intellect to the service of attaining wisdom. With the cultivation of aes thetic tas te, the acquisition of artis tic skill, the knowledge of artis tic rules and purification of the soul the seeker becomes the translator of wisdom into great and timeless work. This article describes the relationship between wise arts and freedom, love, the sources of inspiration.

The volume of the philosophical debates about the art and aesthetics within the framework of the Islamic cultural and philosophical heritage is not so great. While translating the Greek philosophical literature, the Islamfic philosophers did not pay complete attention to the artistic dimension of this philosophy, and many of them did not proceed from Plato’s Republic, and Aristotle’s Poetics. The reasons of such and approach have been studies to some extent, but they still require further study. The Islamic art is a result of the expansion of Islam, and the establishment of the great Islamic civilization. The aesthetics of the Islamic art is the result of the studies of philosophers and thinkers like Qazzali, Farabi, and the rest in the Qoranic verses on one side, and the result of the perceptions of the artists who were living in the atmosphere of Islamic faith and thought. The Islamic art is the result of the cooperation of all Islamic nations, among which the portion of some countries like Iran has been so outstanding. The art of these nations takes its roots in their customs and tribal interests, along with the spirit of the Islamic instructions. In this paper, we will study the relations between philosophy and art, and Hikmat and the aesthetics of the Islamic art, to pave the may for proposing the differences between the divine and non-divine art.