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  1 - A Critique of Ibn ‘Arabī’s Ideas on the Concept of Manifestation Based on the Qur’ān and Shi’ite Traditions
  Fereshteh Samiee Amir Tohidi Mohammad Kazem Rezazadeh Joudi
  Manifestation (tajallī) is a frequently used concept in Islamic tradition, the interpretation of which has a great influence on ethical, epistemological, and religious beliefs. The background of this term goes back to the Holy Qur’ān and some ḥadīths with Muslim thinker More

  Manifestation (tajallī) is a frequently used concept in Islamic tradition, the interpretation of which has a great influence on ethical, epistemological, and religious beliefs. The background of this term goes back to the Holy Qur’ān and some ḥadīths with Muslim thinkers having provided several interpretations for it. Prior to Ibn ‘Arabī, manifestation was, more than anything else, a mystic concept that referred to the quality of the ontological-epistemological closeness of the wayfarer to Almighty Truth through removing veils and revealing the acts, attributes, and essence of God. However, Ibn ‘Arabī’s particular views and interpretation of this term were different from those of others. The present study employs a descriptive-analytic method in order to comparatively investigate the uses of the concept of manifestation in Ibn ‘Arabī’s view and in Islamic verses and traditions to reveal their similarities and differences. The findings of this study demonstrate that Ibn ‘Arabī’s ideas regarding some important discussions such as the definitions of manifestation, similarity, and essence or absolute non-existence; absolute judgment about God’s essence; limited terms; Man’s concepts of God; God’s manifestation in the Hereafter, and manifestation of denial are greatly different from the views in Islamic verses and traditions in relation to the concept of manifestation. Manuscript profile
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  2 - Revealing the hidden side of things, through painting based on the philosophy of Gilles Deleuze
  Seyedeh Maryam Ghazi ali moradkhani Mohammad shokri
  Based on the notions of Gilles Deleuze, the researcher studied the expression of hidden aspects of objects through painting. By tracing the development of art from the prehistoric era to the postmodern era, using a method based on color orientation and how it affects se More

  Based on the notions of Gilles Deleuze, the researcher studied the expression of hidden aspects of objects through painting. By tracing the development of art from the prehistoric era to the postmodern era, using a method based on color orientation and how it affects sensation, going beyond figuration, which includes intersections and pauses, beyond studies focused on form and content, color and color sensation of the paintings can be investigated as an essence of the interaction of the forces affecting the concepts concealed on the canvas. The investigation of surface-level conflicts of colors on canvas was set aside in favor of examining the painting process as a result of concealed thoughts and the true expression of colors, allowing for the achievement of the ideas hidden in the colors. To collect data for this qualitative research, a desk study was carried out. The purpose was to identify the qualities of modern painting that are based on color orientation and how it impacts perception, as well as to identify the mechanisms affecting color relationships on the painting canvas. In order to explore a perspective on painting, the researcher developed a framework by highlighting the key notions in Gilles Deleuze’s theories. Making the invisible visible was finally accomplished through the study of colors, the absolute significance of a visual reality that has nothing left to convey, and by accepting the shift from the cliches of visual and action paintings. Manuscript profile