The issue of the article is whether the experience of Beauty or love in Plato can be considered as some kind of religious experience. First, the article describes different views on the religious experience. Then it deals with Plato's view on beauty and love and their relationship. finally, demonstrating the divinity of Beauty in Plato, the article shows that if religious experience is an encounter of the experiencer with the divine being, or in religious term God, that manifests itself in (...) various forms, and that encounter is accompanied by a direct conscious of the divine being, then the experience of Beauty or love in Plato can be considered as a kind of religious experience. The article merely claims that the experience of Beauty or love is an instance of religious experience, and it does not have any epistemological view on religious experience, however, any epistemological view on religious experience logically includes the experience of Beauty or love. -/- Key words: religious experience, beauty, love, divinity, Plato . (shrink)

The issue of the article is defending the claim that the experience of Beauty can be considered the numinous experience. First, the article explains Otto’s view on numinous experiences. Then it explains Plato’s view on Beauty and love. Finally, comparing the two views, the article shows that the experience of Beauty or Platonic love can be considered the numinous experience. Because, firstly, the experience of Beauty or Platonic love is an awareness of a “wholly other” being, which possesses all or (...) at least the most prominent features of the numinous awareness. Secondly, Beauty as the object of this awareness also possesses all or at least the most prominent features of the numen. Therefore, the experience of Beauty is the very experience of the numen. -/- Keywords religious experience, numinous experience, the numen, Beauty, love, Plato, and Otto. (shrink)

The protracted history of consuming carbon-based energy sources in Iran culminated in 1908 with the momentous discovery of the inaugural oil field in Masjed Soleyman. This newfound carbon-based source not only brought a lot of revenues to Iran but also, brought forth a multitude of materialities like pipelines, roads, bridges, refinery factories, tankers, and rigs into Iran. This new materiality exerted a profound influence on the perception and imagination of Iranians, particularly Iranian artists. Consequently, carbon permeated diverse manifestations within Iranian (...) artworks assuming various artistic approaches; in other words, carbon was inevitably introduced into aesthetics. Serendipitously, the ascension of Reza Shah Pahlavi to power in Iran almost coincided with the discovery of oil. Reza Shah and his successor, Mohammadreza Shah, sought to position themselves as a novel international force governing a "developed" nation for which they needed to lubricate the production-consumption cycle in Iran. To achieve this objective, they championed extensive governmental propagandas that celebrated carbon-based consumerism, and with that, they introduced aesthetics into carbon. Drawing inspiration from Walter Benjamin's notions “politicizing aesthetic” and “aestheticizing politics” and insisting that in Iran, oil/carbon is politics, this paper aims to historicize the process of carbonization of aesthetics in Iranian art realm on the one hand, and aestheticization of carbon in governmental propaganda on the other hand. This paper focuses on visual ideologies in visual artworks, including architecture, painting, and sculpture in the artwork realm and postal stamps, postcards, and paper moneys, on the other hand. (shrink)