The ART of Islamic Banking and Finance narrates the author’ s (Yahia Abdul-Rahman) achievement in constituting an interest-free bank in the U. S. A. As a matter of fact, he explores banking and finance laws and regularities in the U. S as well as the Islamic banking system in the world. The remarkable difference between these two kinds of banking systems is that the former is based on the monetary market and the latter on the real economy. In the Islamic banking system, the rent expense of a commodity to be financed is measured based on rules known as “ commodity indexation” and “ marking to market” . Moreover, in such a system, the interest rate of the ordinary banking system is substituted with the rent expense of a commodity. Thus, rent expenses are not fixed like interest rates. The prominent characteristic of an Islamic banking system is not only its interest-free feature but also its civility and social responsibility. The main pitfalls of the book include a lack of comprehensive discussion and a lack of reporting the Islamic banking systems of other Muslim countries. Besides, no thorough analysis of banking system experiences has been done and has not paid attention to the critique of the Iranian banking system.

Nature has aesthetics of its own, what can provoke the human mind into better recognizing the concept of beauty via mental perception. As such, human mind can interact with the nonverbal expressions of nature only to better his/her primitive aesthetic knowledge and reach a more novel recognition of aestheticism via the practice of interpretative deduction. This ARTicle has been the result of a series of discussions and dialogues between the authors on the nature of aesthetic geotouring and exploring the natural phenomena based on the Dialectical Method of Socrates and modelled after the Platonic dialogues. The outcome of this dialectic study brings to light the fact that touring in nature through providing the due opportunity for mental perception of aesthetic phenomena can provide a clearer definition of ‘beauty’ in its rich variety. Aesthetic search as such will culminate in forming a more illuminated mental concept of beauty in mind, what can influence human rationale for aesthetic judgment and enrich even more the texture of human aesthetic CREATION. Such aesthetico-interpretative endeavor might lead to a higher potential for creating more original works of literature and ART and culminate in a better judgment about such aesthetic CREATIONs.

The study aimed to identify and analyze the multicultural competencies of ART teachers with an emphasis on social pARTicipation within the framework of Discipline-Based ART Education (DBAE). This applied qualitative research employed qualitative content analysis. The study population included national Iranian educational documents and international multicultural education frameworks. Purposefully selected samples consisted of the Strategic Transformation Document of Education, the National Curriculum Document, the Iranian secondary school ART curriculum, UNESCO’s 2013 framework, and the European Commission’s 2017 teacher education framework. Data were coded and integrated into the DBAE structure. The findings indicated that teachers’ multicultural competencies can be classified into two main categories: “social pARTicipation and collaboration” and “empowerment and advocacy for pARTicipation.” Integrating these competencies into the ARTistic CREATION dimension of DBAE enhances creativity, social responsibility, group skills, and intercultural opportunities within educational settings. Furthermore, embedding social pARTicipation into the ART-making process fosters communication skills, conflict resolution, and collective identity development among students. Integrating multicultural education into the DBAE framework can foster dynamic and equitable learning environments. This combination empowers ART teachers as both facilitators of social interaction and active creators, equipping students with the ability to collaborate, respect cultural diversity, and engage constructively in society.

Recognizing and analyzing the economical foundations of ART in renaissance as the basis of a society which mainly aims at individual freedom is of great importance for understanding of renaissance characteristics.This paper strives to cast light on the role of economical system in that era in supporting the big ARTistic projects.Two economical supporters of ART in the middle Ages were church institution and guilds. Church institution, although in renaissance period had been weakened by strengthening humanism, was still counted as a supporter of ARTs; but the works of ART, ordered by church, were not as in the middle Ages following the religious patterns. Renaissance ARTists, having been affected by new ways of thought, were inclined to express and create those works of ARTs which both in form and content were humanistic.Decreasing the power of church was parallel with increasing the power of monarchy. Italy, in that time, was not dominated by a central power; sometimes Spanish and French kings had considerable roles in supporting Italian ARTists. In Italian metropolitans - both dictatorial and republic - ARTists were enthusiastically supported. The ART formed in the realm of republic state had more flexible boundaries than that formed in the realm of dictatorial one. The roots of renaissance, thus, were planted in Florence republic, a city dominated not by a dictator but by associations and groups.Increasing the power of merchant class and the emergence of the concept of nationality in Italy in 14th century has caused the middle class to appear. As this class developed, small and local families changed into big and rich dynasties which grounded significant ARTistic projects. The works of ART, now more than any other time, follow the rules of competition. Middle class, monarchic class and church competed with each other to support humanistic culture and such competition led to the expression of a wide variety of ARTistic genius.

Ambiguous concepts of a text or a piece of pleasant poetry create an atmosphere of a virtual world; we do not understand why we greatly enjoy reading or writing such a piece of ART. You may imagine concepts make mental imagination generate objective atmospheres. In case of removing ideas and concepts of a piece of ART, no doubt you may feel an entity of vanity and void. Meaning or thinking is the most fundamental pART of thought; there is no thinking without concepts. The word concept is the very idea which DescARTes regards it as an objective entity. The body of man is not merely a perspective center for the central perspective world. Brain is not assigned to think either because our perceptions and physical body create our being understanding directly. The above understanding is related to deeper meaning and concepts which have waned a little in the present universe. However, you may observe it in literature clearly. It is also of significance that beauty content depends upon meaning; the very meaning that is a product of concept. As a painter draws his home on a canvas, literature creates magnificent figures of palaces and houses in mind through words. Using figures coming from a literary text and materializing it in a piece of ART may lead to become a tool manipulated by plastic ARTs practitioners. This kind of imagination is of mental figure of a subject materialized to present a better expression of the subject and at last achieving a better understanding by means of tools manipulated by ARTists; imagination may generate products such as painting, sculpture, cinema, architecture, production, etc. Indeed, pictorial expressions play similar roles in the whole ARTs. However, they function in a different way in view of tools and executive manners. When ARTists present visual expressions compared with the manner by which novelists transfer visual matters, you may learn that figures play the same roles of descriptive pARTs of a novel. Novels function in a way that readers come to know about figures, objects and humans. In other words, reading a novel gives a set of words generated properly. The reading task makes readers involved largely so that they may ignore the matters around. Words and figures reflect different stories in isolation. when they come together, they distinguish each other. Any piece of ART, dramatized or fictional, carries an intrinsic special emotional atmosphere created through reading, surviving in mind and then changing to objectives by means of mental figures of ARTists. In fact, figures created in the ARTists mind play the role of descriptive pARTs of a novel, but the difference is that the tongue produces words. However, mind is a visual and pictorial fluid as figures or pictures created by an ARTist. the mental language changes to a living pictorial three-dimensional fluid through merging mind and material. All ARTs including painting, cinema and architecture are considered PARTicular Manners of Thinking; thoughts which are the roots of all concepts as far as DescARTes is concerned.

In this ARTicle, the role of sacred numbers in the wise foundation of Islamic ART, as used in traditional ART, is examined. A comprehensive and in-depth examination of sacred numbers, whose significance arises from their application in the designs, symbols, and patterns of this traditional culture. The sacred numbers in Islamic ART are not only known as the figures that are valid in mathematics but also as spiritual and religious symbols. These numbers include numbers such as one, two, three, six, eight, nine, ten, and twelve, which are repeated in the Qur’an, hadiths, and other sacred Islamic texts. However, the value of these numbers is also related to the pre-Islamic centuries in Iran. So how these numbers are used in Islamic ART symbols is examined. In Islamic ART, sacred numbers are considered symbols of religious and philosophical values. In this ARTicle, examples of the use of sacred numbers in architecture, music, calligraphy, and Islamic ART painting are presented. These examples show that sacred numbers are used in ART designs and patterns to represent Islamic religious and philosophical values and convey to the viewer deep messages. The purpose of this ARTicle is to express the importance and use of sacred numbers in Islamic ART to show that these numbers have been used as symbols of spiritual and religious values in designs, symbols, and patterns of Islamic ART. This ARTicle has been conducted qualitatively using a descriptive-analytical method. The data have also been collected from library sources, scientific research ARTicles, and reputable internet sites. The statistical population of this ARTicle is collected images of buildings and works that are formed and built through sacred numbers in Islamic ART including Islamic architecture, geometric motifs, tiles and more. The findings of the ARTicle indicate that ARTists, including musicians, calligraphers, and traditional architects, etc., exploit the sacred numbers that have been rooted in the thoughts of former thinkers and philosophers such as Plato and Pythagoras, as well as balance, and proportion. Islamic ART is one of the most important and influential cultural elements in Islamic history. This ART has been widely developed in coordination with architecture, painting, calligraphy, astronomy, etc., especially in Iran, Saudi Arabia, Syria, and Egypt. One of the interesting and varied aspects of Islamic ART is the optimal use of sacred numbers used in symbolizing and ARTistic design. The topic of numbers is also one of the very interesting subjects, and the evolution of its concept among philosophers, logicians, mathematicians, literati, grammarians, and syntacticians is worth pondering. Therefore, the discussion of numbers has been of great use in astronomy, astrology, and superstition. Sacred numbers are a concept deeply associated with Islamic sciences and philosophy, such that in the Holy Quran and the Hadiths of the Prophet Muhammad (PBUH), great value and importance are given to specific numbers like the numbers one to nine. These numbers are also used in Islamic ART as a symbol of religious credibility and beliefs, one of the prominent examples of the use of sacred numbers in Islamic ART is the architecture of the mosque. Mosques, as sacred places for prayer and worship among Muslims, have unique ARTistic designs. In these designs, sacred numbers are used to create balance and harmony in dimensions, ratios, and decorations. For example, the ratio of length to width in the mosque structure is based on sacred numbers, and this helps the overall balance and beauty of the building. In addition, sacred numbers are exploited in ART designs such as tile, mosaic, and inlay. These numbers are used in Islamic patterns, stars, networks, and geometric designs and cause fitness and harmony in the designs. The purpose of this ARTicle is to examine the status of sacred numbers in symbolizing Islamic ART. Given the importance of these numbers in Islamic ART, it is an examination of the concept and meaning of each sacred number and how it is used in symbolizing Islamic ART. This ARTicle will also address examples of the use of sacred numbers in the structure of Islamic ART and their impact on beauty and communication with Islamic religious and philosophical elements. The main question of the ARTicle is: How have sacred numbers been effective in the wise foundation of Islamic ART? This study has expressed the mystery of some sacred numbers in a qualitative and descriptive approach and has conceptually examined them.Regarding the significance of sacred numbers in the symbolism of Islamic ART, we can refer to various books and ARTicles that explore the recognition of the secrets of numbers, as well as their role and impact on Islamic works of ART, including “Star Signs” by Linda Goodman (2003). In this book, the author employs numerology and astronomy to explain how they can be used to understand the hidden meanings behind words, names, titles, and phrases. Additionally, Ahmad Aqa Sharif (1383) in “The Book of Secrets and Mysteries of Numbers and Letters” has limited himself to introducing the secrets of a few numbers and has addressed the introduction of numbers and letters across different cultures and their beliefs and convictions. Asadullah Baqaei (2006), in “The Secret of Seven: Symbolism and Mythology of the Number Seven,” has spoken about topics such as the Seven Valleys, Seven ARTs, Seven Sins, Seven Labors of Rostam, etc. Also, Azam Rahmani-Rad and Tayyaba Eslami (2007), in “The Amazing Secrets of the Number Seven,” mention the significance of the number seven in most cultures, ancient civilizations, and folk legends. They also refer to the ancient roots and sanctity of the number seven, including the story of the seven angels whom God sent to EARTh from the heavens to help eARThlings and communicate with prophets. Hassan Balkhari-Qahi (2009), in “The Geometry of Imagination and Beauty (A Study of the Views of the Ikhwan al-Safa on the Wisdom of ART and Beauty),” while discussing the wisdom of craftsmanship in Islamic culture, has extensively analyzed the viewpoints of the Ikhwan al-Safa and Khwan al-Wafa and examined them in relation to the theories of other philosophers and thinkers such as Plato, Avicenna, and Khwaja Nasir al-Din al-Tusi. Ikhwan al-Safa and the wisdom foundations of ART, based on Greek opinions, divide geometry into two pARTs: rational and sensory, and describe its application in human life.Majid Khazaei and Mehdi Momtahan (2011), in a study titled “Symbolic Representations of Numbers in the Quran, Mythology, and Literature,” state that CREATION has been concerned with the subject of counting from the beginning, writing, “It is not possible to determine a specific time for the discovery of numbers.” However, the direct relationship of human civilizations in the formation of numbers can be considered the evolution of human culture, as numbers have been an inseparable pART of the necessities of human life and thought. Mahmoud Sadeghzadeh (2013), in his ARTicle titled “A Study of the Semantic and Literary Application of the Numbers Seven and Forty in the Masnavi,” while referring to the mysteries of the number seven in ancient Iran and their beliefs, including the belief in the seven realms and the seven attributes of Ahura Mazda, examines the significance of this number in the Quran and Islamic traditions, as well as in Persian mysticism, literature, and proverbs. Miranda Burruss Mitford (2015), in her book “The Illustrated Encyclopedia of Symbols and Signs,” discussed symbolic number systems and identified numbers in terms of their sacredness and symbolic aspects in tribes and nations. Also, in another example, Hassan Balkhari-Qahi (2016), in his book titled “The History of ART in Islamic Civilization (Music and Architecture),” while examining ARTs such as music and architecture in Islamic civilization, deals in detail with the history, theories, styles, and developments of Islamic music and architecture from the beginning to the contemporary period.

This ARTicle present tries to analyze the symbolism hidden in the origin of CREATION of ART and the generation process of works of ART as been represented in the applicable pattern of "ascent" and "descent", which in itself act as a general theme for the CREATION as a whole and humans' gem as an example. Is the shining effect of this pattern throughout most of the Islamic ART tells of an even more sophisticated meaning and Great concepts and is an indicator of a journey from being the one, to being the many, from solitude to socializing. It also reminds us of the fact that all ARTistic CREATIONs are originally based on sacredness and inspirations coming from the God, His kindness and attention. The true manifestation of ART is in the world of meaning and his own presence. The ARTist makes contact with the world of meaning, using the medium of "Presence", and using their understanding in all of his wishes and teachings attempts to create works which are all presentations of worship and devotion. In this research, we shall try to delve into the depths of spiritually fulfilling concepts such as "arches", "domes", "fountains", and CREATIONs of the same league, which captivate the on-lookers and heighten their spirits and witch help it to face with the Higher World. Such a research will show that this ascent to higher worlds, and the descent that follows, is a symbolic reference to worshiper's bowing, kneeling and standing before a single being of the higher ups. It maybe said to be ARTist inspired by the nature and human reason, by creating a work of ART, shows aspects of beauty and majesty of God. Because he knows, all things are symbol of God's names. His efforts to pass the multiplicity of unity go toward the God. So the spirit of works of ART is going out into objects and then to go to the elevation and soar and then faded grandeur and glory of God and bowed and surrendered to for the God. All the works of ART is in their meaning constrains that they are shining, because they will accept of the beyond the word. With this view is that it can be to painted the rise and prostrate with inspiration from nature and claimed that human beings with the revelation that all indicate, and it is efforts to prevent the revolt and slavery expressed against in great God. In Iran, there has been the CREATION of ART in different areas such as the epic poem, architecture, sculpture, calligraphy and etc, the periods of very old. And can be received divine manifestation in the works of ART created that such as mirror transparent and clear that taken from the inner nature human's. And go toward worship and praise of God. And kneeling and standing before a single being of the higher ups. And the result it, lead to the prayer and worship for God.

If any systematic change or conversion towards perfection in the form of a thing be named as “a sub-movement” of a complex of sub-movements known in the process-based system of a thing’s evolutional movement in its eARThly existence, then, in accordance to the basic principle of a thing’s eternal intellectual essence and to the unchangeable, everlasting divine laws of the perfection-bound process of CREATION, these constant formal conversions (in whole) are led in the rightful, unified movement of elements in reaching the ultimate goal (which is the best and most complete form of each thing, in harmony with the divine knowledge-based attributes). These continual (systematic and process-based) conversions of form (even though in answer to the consecutive conversions of mutual needs of things in the world), give ARTists and architects of any time a golden opportunity to take a new step in the way of “the live, process-based, and developing path of a given thing, with the goal of reaching harmony with the absolute Perfection” (which is but “sairurah ila Allah”, or becoming toward Allah).  This paper is aimed at highlighting this forgotten truth of the Qur’anic saying, and one of the most effective solutions that could gradually and slowly (but certainly) solve the problem of identity and Islamic affinity in architecture, is to re-explore “the natural/divine path of maturing,” realized by “the reflective, knowledge-based experience”. The main goal of this paper is to present a comprehensive discussion of this truly magnificent meaning. A reflective, knowledge- based experience is the key to the nourishment of compassion inside the living, intelligent womb connected to the knowledge-based forgiveness and mercifulness (inside the eARTh and the natural world) for the maturing of human mind and soul. In fact, the converting geometry of the physical form of a work of ART (despite its fixed essential meaning and unchangeable intellectual organization), is an “opportunity” or “path” that the Compassionate Nourisher (Allah) has prepared for maturing, and step-by-step growth of human mind and soul. Therefore, losing the opportunity of life, work and knowledge-based experiences in this world equals to the depARTure of soul and wisdom from the merciful, nourishing womb, which in consequence, results in dissection from the ever-flowing, nurturing stream of knowledge and wisdom, and in conclusion, hinders one from traveling on the natural path of growth and maturity.

The role of Mahdism lifestyle in the experience of ARTists As the creators of ARTwork and the ARTists' inner experience has a fundamental role in the process of formation and origin of a work of ART, its effect is resulted from a feeling, emotion, imagination they owned. The question explored in this paper is what the position of Mahdism is in the Muslim ARTists' experience. In this ARTicle, we have tried to answer this question that an ARTists' belief in Shiite Mahdism can influence his ARTistic experience if they know the role of Mahdism in the intellectual and epistemological system, especially the Shiite gnosis, which eventually leads to fine Mahdist ARTs.The expectation to invent and create the works of ART is just based on the style of life and experience of the ARTist which has Mahdism playing a prominent role and presence.In the absence of internal love as well as a deep understanding of it in terms of the experience of ARTist, (official) ordering of a work of ART in it self, would not create a work of ART.

In some point of view, neither Michel Foucault nor Ibn Khaldun are considered philosophers in the conventional classifications, but both are very  important in intellectual and, of course, in philosophical contexts, especially for those who are interested in the deep study of human life from the perspective of political thought.The main concern of two thinkers, one in the 14th century, the other in the 20th century, is the issue  of power, although neither of them provided a precise definition of it. In this ARTicle, an attempt has been made to show the place of power and domination in the political thought of both thinkers by examining the thoughts of two thinkers. And in search of an answer to this question, how did Asabiyyah and industry of religion in Ibn Khaldun's thought and social control through self-technology and discipline in Foucault's thought lead to the expansion of the domination of power? This ARTicle is written by analytically comparing the opinions of two thinkers based on Ibn Khaldun's most important book called Muqaddimah and Foucault's late works