چکیده مبسوط

(Extended Abstract)

 1)      Introduction

Islamic art and architecture have long been regarded as among the most profound manifestations of the intellectual and spiritual foundations of Islamic civilization. Unlike purely material or decorative artistic traditions, Islamic artistic expression is deeply rooted in metaphysical and ontological principles derived from Islamic philosophy and wisdom (ḥikmah). Central to this worldview is the philosophy of existence (ontology), which explains the relationship between God, humanity, and the cosmos through concepts such as tawḥīd (divine unity), light, wisdom, unity and multiplicity, and spiritual knowledge. In Islamic philosophy, existence is not understood as a neutral or abstract category; rather, it is viewed as a hierarchical and sacred reality emanating from the Divine Being. Consequently, artistic and architectural forms in Islamic civilization function not merely as aesthetic structures but as visible manifestations of transcendent truth.

Muslim philosophers including al-Fārābī, Ibn Sīnā (Avicenna), Suhrawardī, Ibn ʿArabī, and Mullā Ṣadrā established a metaphysical framework in which beauty is considered a mode of existence and artistic creation becomes a process of revealing divine order within material reality. Within this perspective, Islamic art is not intended to imitate nature in a realistic sense; instead, it seeks to express metaphysical unity through symbolic form, geometry, rhythm, proportion, and light. Concepts such as unity within multiplicity and the manifestation of divine light become foundational principles shaping artistic structures and spatial organization.

Despite the richness of Islamic metaphysical thought, many contemporary studies of Islamic art and architecture have focused mainly on historical description, stylistic classification, or decorative analysis, while paying less attention to the systematic relationship between Islamic ontology and artistic form. The present study seeks to address this theoretical gap by examining how ontological principles in Islamic philosophy are embodied in Islamic art and architecture. The main research question is: how do metaphysical concepts such as tawḥīd, light, wisdom, and unity manifest themselves in the artistic and spatial structures of Islamic civilization? The article further explores the relationship between meaning and form, the symbolic role of geometry and light, and the function of architecture as a mediator between the sensible and spiritual worlds.

2)      Methodology

This research adopts a qualitative, descriptive-analytical, and comparative methodology grounded in philosophical interpretation. The study relies on classical Islamic philosophical texts, contemporary scholarly works on Islamic art, and selected case studies from Islamic architecture and visual arts. Primary philosophical sources include the works of Suhrawardī, Mullā Ṣadrā, Ibn ʿArabī, Ibn Sīnā, and al-Ghazālī, whose ontological theories constitute the conceptual foundation of the analysis. In addition, modern studies by scholars such as Seyyed Hossein Nasr and Titus Burckhardt are employed to contextualize the spiritual dimensions of Islamic art and architecture.

The analytical framework of the research is based on correlating philosophical concepts with formal and spatial characteristics in artistic and architectural works. The study examines how metaphysical notions are translated into geometry, proportion, ornamentation, light organization, and spatial hierarchy. Three major architectural examples are analyzed in particular: Shah Mosque, Fin Garden, and Tomb of Hafez. These examples are selected because they demonstrate the integration of metaphysical meaning and artistic form in different ways. Furthermore, the study investigates artistic fields such as calligraphy, illumination (tadhhīb), miniature painting, and tilework in order to show how Islamic ontology manifests itself across diverse artistic media.

The research employs a comparative philosophical approach to distinguish Islamic ontology from Western existentialism. While Western existentialist thought emphasizes individuality, anxiety, and subjective experience, Islamic ontology focuses on the absolute reality of existence and its hierarchical manifestations. This distinction provides the theoretical basis for understanding the sacred orientation of Islamic artistic production.

3)      Discussion and Results

The findings of this research demonstrate that Islamic ontology constitutes the intellectual and spiritual foundation of Islamic art and architecture. The principle of tawḥīd emerges as the central organizing concept shaping artistic and spatial structures. In Islamic architecture, unity is expressed through symmetrical composition, geometric repetition, centralized spatial organization, and harmonious proportions. The structure of Shah Mosque exemplifies this principle through its axial orientation toward the qiblah, balanced spatial arrangement, and integration of geometric ornamentation. The architectural composition reflects unity within multiplicity, symbolizing the return of all existence to the Divine center.

The concept of light occupies a particularly important place in both Islamic philosophy and architecture. Influenced by Suhrawardī’s philosophy of illumination, Islamic architecture treats light not merely as a physical necessity but as a symbol of divine presence and spiritual knowledge. The study reveals that the organization of light in mosques and sacred spaces creates an experiential journey from material perception toward spiritual contemplation. Colored windows, domes, and illuminated interiors transform architectural space into a symbolic representation of metaphysical reality. Light thus functions as both an aesthetic and epistemological element within Islamic architecture.

The analysis further indicates that the philosophical doctrine of unity in multiplicity is manifested visually through repetitive geometric patterns, arabesques, calligraphy, and tilework. Islamic ornamentation avoids chaotic diversity by integrating multiplicity into a coherent and harmonious whole. Every individual element participates in a larger cosmic order, reflecting the ontological unity of existence articulated in Mullā Ṣadrā’s theory of the gradation of being (tashkīk al-wujūd). Geometric forms such as circles, stars, and interlaced polygons symbolize the emanation of multiplicity from a single transcendent source.

Islamic calligraphy is also shown to embody metaphysical principles. Because the Arabic script often conveys Qur’anic revelation, calligraphy becomes a sacred artistic practice through which divine speech enters material form. The rhythmic movement of letters, balanced proportions, and flowing composition represent the harmony and order of existence. Similarly, illumination and miniature painting employ symbolic colors, abstract spatiality, and non-naturalistic representation to convey spiritual realities rather than material appearances.

The study also highlights the role of wisdom (ḥikmah) in shaping artistic proportion and architectural order. Islamic architects employed mathematical harmony, sacred geometry, and symbolic numerical relationships to create spaces reflecting cosmic balance. In Fin Garden, the arrangement of water channels, gardens, and spatial axes reflects metaphysical ideas concerning life, cosmic order, and the harmony of nature. Likewise, Tomb of Hafez demonstrates the integration of poetry, landscape, architecture, and spirituality into a unified symbolic environment.

Overall, the findings indicate that Islamic art and architecture function as mediators between the material and spiritual worlds. Artistic form is inseparable from metaphysical meaning, and aesthetic structures become instruments for contemplating divine reality. Islamic architecture therefore operates not merely as functional construction but as an ontological expression of sacred order.

4)      Conclusion

This study concludes that Islamic ontology provides a comprehensive metaphysical framework for understanding Islamic art and architecture. Concepts such as tawḥīd, light, wisdom, unity, and multiplicity are not abstract philosophical ideas detached from artistic practice; rather, they actively shape the formal, spatial, and symbolic structures of Islamic artistic production. Islamic art transforms metaphysical principles into visible and experiential forms, allowing architecture and visual arts to function as embodiments of spiritual truth.

The analysis of selected artistic and architectural examples demonstrates that Islamic artistic forms are deeply connected to ontological and epistemological principles. Geometry, symmetry, repetition, and light serve not only aesthetic purposes but also symbolic and spiritual functions. Architecture becomes a path of spiritual movement from multiplicity toward unity, while artistic ornamentation reflects the harmony and order of existence. In this sense, Islamic art can be understood as “visualized wisdom” or a sacred language expressing metaphysical reality through material form.

The research further shows that Islamic artistic traditions differ fundamentally from modern secular aesthetics by emphasizing the inseparability of meaning and form. Whereas many modern artistic theories prioritize individual expression or subjective creativity, Islamic art is rooted in the manifestation of transcendent truth and cosmic order. The artist and architect act not as autonomous creators but as interpreters of divine harmony within the material world.

Finally, this study contributes to contemporary discussions on Islamic identity and sacred aesthetics by proposing a philosophical framework for understanding Islamic art beyond purely historical or decorative interpretations. Reconsidering Islamic ontology in relation to artistic form may also provide theoretical foundations for the revitalization of spiritually grounded architecture and art in the contemporary Islamic world. Future research may further explore the relationship between Ibn ʿArabī’s theory of manifestation and Islamic spatial organization, as well as the relevance of Islamic metaphysical aesthetics to contemporary architectural theory and practice.