Comparing phenomena is a way to know their different layers, as well as a way to discover new and hidden ones. By using analytical-comparative method, the present study investigates and compares mysticism and beauty. At first, the concept of beauty, the process of its creating and the way to understand it is examined. Then, some instances of beauty in Islamic mysticism are introduced. The study focuses more on the intuitive aspect of beauty associated with mysticism. The results show that according to Hegel, art is the recording of transient moments happening for artist in an impressionistic moment. In this way, the artist transforms the transient moment into a persistent and eternal one. Also, in Islamic mysticism, in an intuitive moment (which is the same as an impressionistic moment in Hegel's aesthetics) the mystic observes the beauty of the celestial geometry in the loci of manifestations due to his/her constant attention to the Divine beauty. These manifestations include from the beauty of the human face in carnal love to the smallest particles of the universe.

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.

Being fundamentally different and sometimes in the state of confrontation, with traditional and classic aesthetics, 20th century was the realm of new aesthetics in art. Artists, especially the genuine and reflective ones, intentionally and consciously violated the principals of previous periods. An important form of new aesthetics is the “ collage Intertextuality” . The number of prominent artists and the amount of influence this approach of artistic creation has had, led collage to become an important research and aesthetic subject for many scholars. The present paper aims to focus on this specific realm of contemporary aesthetics; i. e. “ collage aesthetics” . Fore so through defining and a typological study of “ collage Intertextuality” , this study answers the question of how each type of mega-collage types (cohesiveness and inconsistency) makes signification.

Grief, plus its expression, is the most sincere reaction anybody feels at the loss of a beloved person. Monotheistic religions address rational aims for such expression of grief. This was what Adam felt at receiving the martyrdom news of Imam al-Husayn. The same was done by other Divine and pre-Islamic prophets.

Sa'd`i's prose is among the most sublime examples of Persian literary prose. The book, however, has not been given the attention it deserves. The writer of this paper has made an attempt to scrutinize the book to reveal the secrets of its magnificence. He begins with determining the position of the book in the prose books of Persian literature and then goes on to show the elements that contribute to this magnificence. The writer classifies these elements as either linguistic or literary and discusses them in detail.

Since Persian Proverbs have a wide range of aethetic aspects, researchers have considered proverbs as a literary genre. This article discusses three dimensions of Aesthetic:1. Weight and rhyme of Persian proverbs.2. Rhetorical dimensions in the field of meaning, expression and novel.3. Humorous Language and expression of proverbs.In order to show the quantity and quality of weight and rhyme in Persian proverbs, a sample of one thousand proverbs was selected from five important sources. The result of statistical analyses showed that 52% of proverbs are prose and other 48% are rhythmic (33% prosodic weight, 7% Non-prosodic and 8% with the internal music).Then after this review of statistical analysis, we analyzed each of these sectors and presented examples. Considering the fact that Persian proverbs in all aspects are close to the weight of folk poetry and by reviewing the comments of six folk poetry experts, proverbs have been described from this view point.Third section shows the role of audio elements and proportions and exquisite symmetries in making Persian proverbs melodic. At the end we'll point to the important elements of humor and its tips.

With the claim of defending women’s rights in western civilization and using its principles and foundations, feminism entered into socio-political thoughts trying to make women participate and play significant role in different domains of social life. Having reanalyzed the factors which have made women inferior, it struggles to remove them. With such an aim, it reviewed and analyzed the history of art and aesthetics. Feminists mainly focus on the analysis of cultural life with respect to sexual difference between male and female. They pose the main question: "Why do women have no status in arts?" They believe that history of art and aesthetics has never recognized women’s art and emphasized on neglecting women’s artistic creativity by promoting special thoughts and adopting particular policies. Instead, it has caused women’s inferiority by identifying their body as the theme of artistic production. In order to confront male–oriented history of art, feminists have used different strategies to create artistic works and have prepared the ground for women’s more presence in different artistic fields by criticizing traditional philosophy and history of art. However, since feministic art has neglected woman’s real personality, has been unrealistic, and has gone to extremes in providing strategies, it has not only been of no help to reduce women’s oppression but also has paved the way for other kinds of oppression.

Aesthetics of everyday life is one of the branches of aesthetic knowledge. Until the 20th century, classical aesthetics focused on the subject of visual arts and paid less attention to the formation of fine arts in the context of human and nature’, s daily life experience. During the last few decades, a movement emerged that, by avoiding that one-sided art-oriented approach, tried to create a close link between the experience of fine arts and the experience of other areas of daily life. This led to the emergence of a new field of study called the aesthetics of everyday life. Pragmatist philosopher John Dewey explained his views on the concept of aesthetic experience of everyday life in the book Art as Experience. The main purpose of the article is to find out what is the beauty of everyday life based on John Dewey’, s views. Therefore, after examining various concepts and theories about the aesthetics of everyday life, two analytical examples of the aesthetics of everyday life in the architectural art of traditional Iranian houses (Mollabashi House of Isfahan) and the art of poetry (Sohrab Sepehri) are examined. The result is that the aesthetics of everyday life is the “, aesthetics of presence”,which, when confronted with anything, both beautiful and ugly, causes a change in the type of human presence in the new global life with a haptic pattern. The compilation of this article is in the form of taking samples from library sources and reliable internet sites, and the research method is descriptive-analytical.

This article tries to analyze and critique the book “, Aesthetics of Photography”, , according to set criteria. Francois Soulages, the author of this book, is an experienced professor in the field of aesthetics and philosophy of art in France. The book has an acceptable quality of print and published. There are few typographical errors, fluent prose, and footnotes, references, indexes, and bibliographies. Despite a few minor flaws, the book sounds well. The translation of the book to Persian is also fine. Thematic variety and proper distribution of the book's contents in three general sections and 12 chapters have been done very cleverly. In terms of content, the book has been able to challenge the issues related to the aesthetics of photography from different perspectives and useful case studies. By constantly using the method of dialectical reasoning between conventional and unconventional metrics (in terms of type and time), Soulages has done very well in understanding the concepts of contemporary photographic aesthetics from the standpoint of a French expert and has been able to provide a useful perspective on contemporary aesthetic effects. The introduction of some influential photographers of late is also one of the desirable contributions of the book. The book contains very useful information for the university photography community in our country.