Document Type : Original Article
Authors
1
Associate Professor, School of Architecture and Environmental Design, Iran University of Science a and Technology,
2
, School of Architecture and Environmental Design, Iran University of Science a and Technology,
3
Assistant Professor, School of Architecture and Urban Design Engineering, Shahid Rajaee Teacher Training University,
10.22034/rau.2025.2059995.1196
Abstract
This article examines a central question in the philosophy of art and architectural aesthetics: the nature of meaning and the feasibility of meaning-oriented interpretation in artistic and architectural works. The issue of meaning extends beyond theoretical discourse and is integral to human creativity, cultural identity, and existential orientation. Art and architecture represent enduring manifestations of human thought and belief. Therefore, any rigorous inquiry into their essence must address the origin, scope, criteria, and ultimate purpose of meaning.
Historically, the concept of meaning in art and architecture has been interpreted in diverse and often conflicting ways. Philosophical and aesthetic schools have offered definitions ranging from symbolic representation and emotional expression to social construction and subjective projection. These varied approaches have frequently resulted in plurality, contradiction, relativism, and distortion. In many modern and postmodern frameworks, meaning is often reduced to personal interpretation or subsumed within linguistic play and cultural convention. Furthermore, symbolic and transcendent dimensions of art are sometimes dismissed as remnants of myth, illusion, or superstition. These tendencies have contributed to a conceptual crisis in which meaning is either excessively relativized or deprived of ontological depth.
The article contends that this crisis originates from the epistemological limitations inherent in human-centered schools of thought. Approaches based solely on sensory experience, empirical verification, rational abstraction, or instinctive inclination are inadequate for comprehending realities that are intrinsic, existential, transcendent, and universally shared. Although empirical and rational methods are essential within their domains, they are insufficient for addressing questions of ultimate purpose and voluntary perfection. Consequently, materialistic and secular paradigms, despite their methodological rigor, do not provide a comprehensive or enduring account of meaning in art and architecture. By confining reality to what is measurable and observable, these paradigms marginalize or deny aspects of existence that transcend material causality.
To address these limitations, the article posits that divine revelation offers the only comprehensive and reliable foundation for understanding meaning in its fullest sense. From an Islamic perspective, God has sent prophets and revealed scriptures to guide humanity toward existential fulfillment and conscious perfection. Within this framework, meaning is not arbitrary or socially constructed but is grounded in divine wisdom and purpose. The Qur’an and the authentic traditions of the Infallibles (peace be upon them) define meaning as that which aligns with the true nature of the human being and directs life toward conformity with divine attributes. Thus, meaning possesses both ontological and teleological dimensions and is inseparable from truth and ultimate purpose.
Within this paradigm, meaning serves as the organizing principle for both individual and collective life, shaping ethical conduct, social relations, cultural production, and aesthetic expression. Art and architecture, as significant forms of human creativity, must be evaluated according to their relationship with this higher orientation. The Qur’anic depiction of God through attributes such as wisdom, justice, beauty, mercy, harmony, and order provides a comprehensive framework for understanding the foundations of virtuous art. When artistic and architectural processes embody these divine attributes, they transcend technical skill or sensory appeal and become vehicles for spiritual elevation. Architecture, in particular, plays a distinctive role in this meaning-oriented perspective. Beyond organizing space and providing shelter, architecture shapes human experience, perception, and interaction, influencing daily rhythms and framing the context for individual and communal aspirations. When rooted in divine meaning, architectural design expresses unity, balance, proportion, and transcendence. Elements such as geometry, light, spatial hierarchy, and ornamentation function as symbolic manifestations of higher realities. Through these manifestations, architecture encourages contemplation and remembrance, guiding individuals beyond material immediacy toward existential awareness. The research methodology employed in this study is qualitative and interpretive, grounded in Qur’anic verses and authentic traditions, and analyzed through logical reasoning and hermeneutical reflection. Rather than relying solely on speculative philosophy or sociological observation, the study engages directly with revealed sources as primary references for understanding meaning. Scriptural analysis is complemented by rational evaluation to ensure coherence and relevance within contemporary intellectual discourse. This methodological synthesis enables the study to remain faithful to divine revelation while addressing current theoretical challenges in the philosophy of art and architecture.
The findings indicate that meaning is not a peripheral or optional aspect of art; rather, it constitutes the essence and animating spirit of artistic creation. Art that is detached from transcendent meaning risks devolving into superficial ornamentation, commercial spectacle, or ideological instrumentality. While such works may satisfy immediate sensory desires, they do not address the deeper existential needs of human beings. In contrast, art and architecture imbued with divine meaning possess transformative potential. They foster moral virtues, reinforce communal solidarity, and orient society toward shared transcendent goals. Meaningful art thus contributes to both individual refinement and collective harmony. The article situates its theoretical discussion within the broader context of contemporary history, focusing on the Islamic Revolution of Iran. Rooted in the divine school of Islam, the Revolution sought not only political change but also spiritual and cultural renewal. It established a comprehensive framework encompassing doctrine, jurisprudence, ethics, aesthetics, and the philosophy of art. Within this framework, artistic and architectural practices are guided by principles derived from revelation, aiming to manifest divine attributes in social life. The Revolution serves as a contemporary example of how meaning grounded in revelation can shape public culture and creative expression. By integrating divine values into educational institutions, urban spaces, artistic production, and architectural design, the Islamic Revolution demonstrates the practical application of a meaning-oriented approach. It challenges prevailing materialistic and secular models that prioritize efficiency, consumption, and technological novelty over spiritual depth. In doing so, it offers an alternative vision for societies facing crises of nihilism, fragmentation, and moral disorientation. The Revolution demonstrates that the recovery of divine meaning extends beyond theoretical discourse and can inform lived cultural practice.
In conclusion, the article asserts that the question of meaning constitutes the most pressing underlying challenge in contemporary art and architecture. In a context increasingly shaped by materialism, consumerism, and relativistic ideologies, the erosion of transcendent meaning has resulted in spiritual imbalance and cultural superficiality. Restoring divine meaning is therefore essential for reestablishing harmony between aesthetic expression and existential purpose. Without such restoration, art and architecture risk becoming hollow forms, disconnected from humanity's deeper aspirations.
A return to divine revelation, particularly the Qur’an and the authentic traditions of the Infallibles, enables humanity to rediscover a universal and enduring account of meaning. This approach does not negate reason or empirical inquiry but situates them within a higher integrative framework. Grounding artistic and architectural practices in the attributes of God cultivates virtuous arts that serve both personal perfection and social well-being. Ultimately, only through engagement with divine sources can art and architecture fulfill their authentic mission: to embody beauty, reflect truth, and guide humanity toward transcendence.
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