Believing in the fact that art is the field of creative and lasting human presence in the world. And the deep belief in the unique ontological achievements of man in this field, the longevity of art in human culture can be justified. The first moments of man’s entry into bio-culture are formed by his artistic initiatives. The oldest works left from ancient civilizations are works of art. Why?!

Shouldn’t we pay attention to his artistic approaches to explore the hidden angles of the human spirit? Shouldn’t we know art well in order to understand the structure of human historical civilization?

Aren’t the deepest ontologies, anthropologies and theologies of man manifested in his art? In order to provide a positive answer to these questions, philosophy of art has been taught more than five times in the Faculty of Architecture, the Faculty of Arts, the Faculty of Literature, and the Powish Institute of Education. Now we have a brief overview of its headings:

1- Art is an indefinable phenomenon but known to humans.

2- Art is a human phenomenon and special for humans.

3- Why did people turn to art? What does art respond to human needs?

4- The nature of the primary teacher of human artist and the bedrock of human artistic ideals.

E – Art is a hidden talent in human being that should flourish.

6- Why don’t all people become artists?

7- The spirituality and honor of art.

8- Art as a part of human culture along with other parts of religion, philosophy, science and mysticism.

9- The art of the common language of all humans.

10- Art is the foundation of human ideals and ideals.

11- The dignity of the artist.

12- The artist and his social position.

13- Artist and art technician.

14- Creativity and instinct in art.

10- Artistic talent and education.

19- Knowing the message, material, technique and style.

17- Beauty is the backbone of art.

18- Art and individuality of the artist.

19 – Art and obligations of the artist.

20- Art for life and effects of art in social life.

Our idea of beauty is not very deep, in some cases we interpret it as the same simple and handy beauties.

With a little care and thought, it can be found that beauty is not only the backbone of human artistic view and its main element, but in all the main and dynamic human activities, the main potential is the understanding of the beauty of that activity by humans. Man not only finds the motivation for movement and action from the idea of beauty, but also benefits from its energy in all the ups and downs. Before a man takes a step in the path of religion, philosophy, art and mysticism, he must consider it beautiful. Before a person wants to take any action in the direction of innovation and creativity, that action must be beautiful for him.

Before any other concept is meaningful to man, beautiful is meaningful to him. The extension of any concept that a person wants to promote is the word beautiful, and beauty itself does not need an extension. Aesthetics is one of the basic course materials that every scholar should know well because it can be a good infrastructure and pre-brands for any scientific trend. According to this fact, in 1981-1979, this title was taught three times at the High School of Acting, Surah University of Arts, and Surah Institute of Higher Education with the following titles:

1- What is beauty? And what is the importance of aesthetics?

2- The indefinability of beauty

3-Truth or beautiful reality in human life

4- The stages of formation and how the beautiful thing is formed.

E – The role of the subconscious mind of man and his objective surroundings in the formation of the beautiful thing

6- Perceptible beauty and intangible or spiritual beauty

7- Elements of beauty in classic and modern look

8- Beauty and physiology

9- Pleasant and unpleasant beauty

10- Beauty and feeling.

11- Beauty and love.

12- Natural beauty, artificial beauty

13- The beauty and components of human culture “religion, philosophy, science, art and mysticism”

14 – Beauty and natural messaging, beauty and human messaging

15 – Beauty, good, useful, truth and reality.

16 – The beauty and scope of history

17- Beauty, space and time.

18- Beauty and psychology

19 – Beauty and sociology.

Whenever a person has a message that he could not present in the form of paintings, sculptures or other works of art. Whenever the message of a person has been of such value and honor that a person has to come to the stage to convey his message to others! The art of theater has been formed. Theater is one of the most humane arts, not only in the sense that it only reflects subjects related to humans, but also in terms of the dignity and value of the subject. An art in which a person is directly present and can present his view to his audience without any modification, theater is an art with tremendous power in conveying the message and attracting the audience. The history of theater tells how human beings are present in the field of receiving and presenting the most subtle points of ontology and anthropology. In 1979-80, theater history was taught in several acting schools and free acting workshops with the following titles:

1- The characteristic of theater art among other arts.

2- Theater is a special show among all kinds of shows.

3- How the theater appeared in ancient Greece.

4 – The influence of theater on myths and rituals.

5 – Transformation factors of theater in ancient Rome.

6- Theater is the result of historical perspective, or influencing history.

7- Medieval theater

8- Church theater.

9 – Theater during the Enlightenment

10- Theater in the Renaissance

11- New and modern theater.

12- The ups and downs of history in contemporary theater.

13- Modern theater and acting schools.

14- Challenges of theater and cinema.

Man has always sought to achieve a comprehensive and clear picture of the philosophy he wants to live with. He knows that living without a goal and motivation is not desirable for him, and without having a comprehensive and clear philosophy, it is impossible to achieve this goal and motivation. One of the best spaces in which man has been able to achieve a comprehensive and clear thought is the space of artistic styles. In artistic styles, the ups and downs of human perceptions have been classified and arranged with such precision and vigilance that it can be considered as an index of the history of evolution. He knew human thought. By knowing the artistic styles, one can achieve ideas that work in the structure of human civilization and experience it in both theoretical and practical dimensions. In the history of philosophy and philosophical views of man, we can only get to know the theoretical dimensions of deep views of man, but in knowing artistic styles, we also learn how to implement deep views. In this sense, I have taught art styles both in the form of classical styles and in the form of modern styles during the past 70-80 years. Now the headings of classical stylistics:

1- Why is stylistics a necessity for scholars?

2- Knowledge of artistic styles is a prelude to the influence of the researcher’s view on the history of civilization.

3- A brief look at pre-Renaissance art styles

4- Classic style with a big picture of art history.

e. Preliminary transformations of the classic look.

6 – Romantic, the desired outcome of the classic look.

7- Romanticism is a natural and untainted attitude.

8- Realism and human influence from an empirical point of view

9- Realism is an introduction to the introduction of sociological, psychological and scientific ideas into the world of art.

10- Naturalism and respect for human feelings.

11 – Basic and advanced naturalism

12- Symbolism and man’s new definition of reality.

13- Symbolism and accepting the world as a battle of signs and codes.

14 – Symbolism and the infrastructures of the mystical view

15 – Summary of the classical ontology form.

16 – Classicism and the proof of the index of styles to introduce space and time.

The modern view of man, which is the result of accepting the ideology of modernity, is widespread throughout the vast life of man today. And man is now willingly or unwillingly dealing with it. One of the cases in which humans are caught in extremes is in dealing with modernity. Sometimes he accepted it as an occult and saving grace and sometimes he rejected it as a sign of disbelief and atheism! How good it was that the ideology of modernity was carefully critiqued until it was not expected of a flawless miracle, nor was its many arts considered unseen. If we want to know this view well and find out its strengths and weaknesses in a sensitive and tangible way, modern artistic styles are one of the best manifestations of the ideology of modernity. In these styles, the deep angles of this look are well felt. In parallel with teaching classical art styles, I also taught modern art styles with the following titles, in order to answer this need:

What is modern? What transformation is the result of the ideology of modernity?

2- Impressionism and diversity of the concept of reality.

3- Impressionism and recognition of the observer’s point of view.

4- Impressionism and modern mysticism in the category of echoes.

5- Expressionism, a view taken from the hatred resulting from war and bloodshed.

6- Expressionism, finding the roots of uncontrollable power in humans.

7- Cubism, human approach to relaxation in the form of relaxing geometric shapes.

8- Cubism, an attempt to harmonize with the whole of nature through the expression of the common geometrical shape in phenomena.

9- Surrealism and the new form of cognition in the form of the new form of the hero.

10- Surrealism and criticism of the unstable view of phenomena.

11- Paranas is the result of unmeasured rushes of modern man.

12- Dadaism is the result of a mistake between dynamism and instability of personality

13- Constructivism in two directions of technical and mystical view.

If we don’t consider human history to be just a record of random events, and we seek to understand human nature in its turbulent moments, we certainly accept that knowledge of yesterday is useful for understanding what we are seeking today, then we We believed in the philosophy of history. Those who believe in the philosophy of history and want to get the best out of it, know that the history of theater is one of the richest parts of human history, because in this history we encounter a creative man, a man who is not only on the way, but Makes the path. Man’s dynamic steps in theater are based on his recognition and understanding of his identity and existence, man’s approach to the art of theater has a goal as high as the subtlest hidden understandings of man. Theater takes away the fear of being different from people and instills positive thinking in people, people experience a new life in the theater. In the form of new views, the philosophy of theater contains how the partial human view of life can be transformed into an eternal view. With the belief that the philosophy of theater broadens the human view not only in the geographical scope of the earth but also in the scope of yesterday, today and tomorrow, in 1980 the philosophy of drama art was taught in the Surah acting school with the following titles:

Introduction – “What is theater?” And what is the difference with other show types? »

1- Why did people go to the theater?

2- When did man go to the theater? 3- How did the theater begin in ancient Greece?

4- What is the message of the great messengers of ancient Greek theater?

E- Transformations of theater art in ancient Rome.

6- Why did the church oppose the theater?

7- When and why did the church agree with the theater?

8- Theater is the result of man’s trusting view of himself.

9- Theater presenting the practical form of human hopes and dreams

10- Anthropology, natural science in theater.

11- Theater is a platform for creating a common experience between the audience and the speaker.

12 – Theater of imagination, abstraction, reality.

13- Theater and the logical development of events.

14 – Theater and giving meaning to human-adjacent materials.

15 – Theater and echoes of inner personality and hidden layers of human existence.

Man, in the two dimensions of his natural need and his supernatural need, has created a special world beyond the natural world, on which he lives! Man-made world is really amazing and amazing? Today, instead of living in the natural world and arranging his system based on natural links, man lives in his own world and defines and defines his life based on this. Although all humans live in the man-made system or human civilization and benefit from it, surely not all of them have a role in building it!? The builders of civilization are the educated and few people who have been able to strengthen the element of creativity in themselves and use their existing powers, which results in such a wonderful civilization with different dimensions of religion, philosophy, science, art and mysticism. Complex techniques, in the field of creativity, have been used only by intelligent and intelligent people who have realized the nature of these techniques! And has provided such a miracle? The basics of artistic creativity is a course that was held in 2002 (this year) during twenty sessions, and it tried to find a way to express creative techniques in humans by expressing creative techniques in the world of art and how to approach it. . At the beginning of the chapters of this lesson, he claims that its correct application and persistence in this application can awaken the element of creativity in man and lead him to the amazing valley of great creations:

Introduction – “Can creativity techniques be learned?” »

1- Characteristic of creative look.

2- Characteristics of creative people.

3 – The platform for the emergence of a creative look.

4 – The connection of nature with creative thought.

5- Connecting reality and idea with creative thought.

6- Relating time, space, past and future with creative thought.

7. The necessity of excitement and its quality in creative thinking.

8- Anatomy of creative thinking.

9-Creativity, stillness and movement.

10. Creativity and natural and social contracts.

11- Creativity, individuality and community.

12. Creativity and audience.

13- Creativity and the inner world of man.

14 – Creativity and external logics

15 – Creativity and life

16 – The miracle of creativity.

17-Difficulties of creativity.

18. Creativity and education

19 – Creativity and intellect.

20- Creativity and action.

In the book of the history of human civilization, the most lasting pages are related to architecture, what the ancient and ancient architects deposited in the huge and grand buildings of that time, has more or less remained until today and reached us, while other works like this have not survived. are Man has left his most beautiful spiritual view in the monument and architecture is very important in this sense. The architect has always been in history, not only as a technician but also as a cultural element and messenger of basic human principles.

How do the three titles of man, nature and architecture make one title?! Man as the creator of this art, nature as the bed of creativity and architecture as creativity itself, take us to a very huge and wonderful world, the knowledge of these titles does not seem so deep and difficult at first, but in the next steps it is very deep. And it becomes meaningful, to the extent that one of the main components of human epistemological geometry takes shape. This course was taught several times in the Faculty of Architecture in 1973-1978 with the following titles:

1- Who is a human being? And what are the main differences between him and other creatures?

2- Looking at man before history, early man, historical man, man of today, man of tomorrow.

3 – Man is a self-made being and prone to becoming.

4- The internal means of human development and not stopping at the level of phenomena, enjoying the inner world, the lack of equality between the mechanism of birth and the mechanism of growth.

E – Obstacles to human growth.

6- Basic human questions and the quality of answering and its results.

7- Culture, the view of human evolution and the outcome of his life history.

8- All kinds of definitions and interpretations of human beings.

9 – The nature of human definitions and interpretations.

10- The supernatural and codes for identification

11- An overview of different theories about the beginning and end of the world.

12- A brief look at the phenomenon of time and space.

13-Different surface and deep dialects in nature.

14 – architecture, super construction operation.

15- Man is the only architect in nature, not the only builder in it.

16 – Cultural supports in architectural creativity

17- Architecture and history of human civilization.

18- Architect and people.

19 – The architect and supernatural ideals of man.

20- Architecture, meaning and spirituality.

Every creative human activity has two material and spiritual processes, the effort of a creative person is formed in these two directions. The material process of a creativity includes how humans know, perceive and deal with the material of creativity. and adjusts and expresses all its quality so that man can have the best benefit. But the spiritual process of a creation is related to the subtlest layers of the creative human personality and answers the question why a person likes this creativity and what he wants to do with it and what he wants to say. The theoretical foundations of architecture are not theoretical issues or architectural science. In the theoretical foundations of architecture, we do not discuss the resistance of materials, stability and such concepts that are related to the science of architecture! The theoretical foundations of architecture is to reach the truth of the human architectural mind and understand its nature. A mind that uses the world of practice and theory in creative architecture to deposit the highest ideals in it, and present an embodiment of it. Between the years 1978-1973, this course was offered in several semesters for the students of the Faculty of Architecture:

1- Why is architecture one of the best sources in studying the history of human civilization?

2- The mirror architecture is the manifestation of the most delicate human feeling and perception.

3- A view of the extent of the link between art and architecture.

4- A view of the extent of the link between religious, scientific, philosophical and mystical thought with architecture.

5- Accuracy in architectural choices

6 – Conditions of creation and architectural creativity.

7- Stages of style formation in architecture.

8 – Defining the city as the result of purposeful architecture.

9- Different applications of architecture and its connection with people’s culture.

10- Architecture and view of different changes in basic beliefs.

Different sources can be used to understand the human being who has grown and advanced with his gradual steps throughout history. The architecture of huge buildings clearly defines the special view of man along this path. If we want to better study and understand the general view of man in the path of his evolution. Biological complexes are a good and very rich resource. A source that represents the form of human communication with each other and how the social view was born and the collective characteristics of our view on the evolution of biological complexes, in fact, it is a view on how the social part of the human personality is formed, a personality that has been gradually formed throughout history to the current stage. It has matured and has a fruitful future. Studying the evolution of biological complexes is a window to the understanding of the social nature of man, which was taught to the students of the Faculty of Architecture many times between 1973-1978, the titles of that course are:

1- An overview of the basic differences between human biological complexes and other biological complexes.

2- Biological complex is the foundation of culture.

3- The course of physical evolution and the course of spiritual evolution in biological complexes.

4- The mutual influence of human traditions and biological complexes.

5- Biological complexes, a bridge for humans to pass from the past to the present.

6- Biological complexes are an introduction to the formation of the city.

7- Biological complexes and the emergence and evolution of culture in the city.

8- How to grow the industrial and technical view in biological complexes.

9- How to emerge and grow the collective view and sense of cooperation in biological complexes.

10- Biological complexes and the need for embodied symbols of the emotional and emotional world of man.

11- View of specific signs and the formation of collective and continuous thinking.

12- Traditions in biological complexes and human connection with past and future.

Ezman created modern life and modern life demands modern architecture. Apart from the fact that the current human life is influenced by the ideology of modernity, and in all its angles, traces of the modern view can be seen, and naturally, these traces can be seen in today’s architecture, and today’s architect thinks that there is another reality. It has: Architecture is a constantly changing and evolving phenomenon in terms of its functionality and practicality and its very close connection with human social conditions. Apart from today’s ideas, today’s conditions also demand new architecture. But what is raised in the discussion of modernity and architecture. Reflections of modern thought in today’s architecture. Due to the fact that until the existential philosophy of a phenomenon is well defined, its nature cannot be well known in the course of modernity and architecture, an attempt has been made to present a complete profile of the realities of the ideology of modernity in modern architecture. This lesson with special titles

He taught several times in the Faculty of Architecture between 1973-1978:

1- A brief look at the ideology of modernity and its manifesto.

2- The infrastructures of modern needs and new views.

3- Infrastructures of natural, social and individual developments in the modern view.

4-How to manifest modern art in modern architecture.

5- Modern architecture, isms and new schools.

How to relate to modern architecture.

7- Removal and additions of the classical view in the critical view of modern architecture.

8- Criticism of opinions of supporters and opponents of modern architecture.

9 – The world, capacities, capabilities, attitudes and modern architecture.

10- Demographic, economic, cultural, political and modern architectural necessities.

11- Cultural bottlenecks in different societies to accept modern architecture.

12- Traditional thoughts, habitual beliefs, strange look and modern architecture.

13- The need to pay attention to the originality of every culture by modern architects.

14 – The world and the future of modern architecture.

15 – Criticism of modernity, criticism of modern architecture.

If we believe: the transformation of a nation depends on the transformation of that nation’s culture.

If we accept: In a world where everything is growing and evolving, the sustainability of a culture depends on new initiatives and new creations. If we accept that: a culture disappears when its guardians repeat old answers to new questions. We must accept that culture is a category that must be dealt with with full patience and precision. In dealing with different cultures, their pathology is in full priority. It is simplistic to imagine that a culture is only affected by a certain area, and to be sensitive only in relation to it. Some cultural damages are highly invisible and unimaginable. In this connection, the pathology course of a culture was taught in the Faculty of Literature in 1975 with the following principles:

1- What is culture? And what is the role of religion, philosophy, science, mysticism and art in it?

2- What is the ethnic, historical, and geographical foundation of a culture?

3- The necessity of studying the history of a culture.

4- Natural and unnatural damages in the historical path of a culture.

E – Dominant culture, defeated culture, Khatthi culture.

6 – Types of natural and human transformations in a culture.

7- Deep transformations in a culture.

8- Different perspectives and meanings and their impact on a culture.

9- The necessity of balance and coherence in the epistemic geometry of a culture.

10- Necessity of balance in the authorial foundation of the external body of a culture.

11- External injuries and internal injuries of a culture

12- Healthy culture, sick culture, dynamic culture and static culture.