The Abrahamic religions include the three monotheistic religions of Judaism, Christianity, and Islam. All of these religions consider Abraham as their ancestor, and they consider science to be the knowledge of the universe and humanity, which are divine revelations. The framework of science in the Abrahamic religions uses three basic concepts: 1) monotheism (as a fundamental principle, a single and all-encompassing Divine vision) 2) the universe (as a divine creation) 3) science (as an all-encompassing knowledge about the world as the sign of God). The purpose of writing this paper is to find the common principles governing science among Abrahamic religions, using a descriptive-analytical method based on library sources. The results of this research is an intellectual attempt to draw on the commonalities between various Abrahamic religions in the areas of constructive dialogue in the field of globalization, based on revelatory and spiritual teachings, to achieve the unification of the world, which is one of the divine promises and is rooted in the natural foundations of humanity.

According to Sikhism, metaphysics is the study of being and existence in three major aspects: absolute truth, existing reality, and human knowledge of this reality. The ultimate truth can be comprehended when one achieves true vision (darshan). Otherwise, it cannot be described but can only hint at God's attributes, such as being a creator, possessing will, and having a personality to some extent. In Sikhism, the origin of creation is absolute truth. Before creating the world, God was immersed in thought. By creating the world, God seeks a play (Lila), with the world serving as the stage for human struggle. There can be no other intention behind the creation of the world, as God is full, complete, and absolutely perfect. Due to His independence, He does not pursue any intentions or purposes. In Sikhism, human salvation is not achievable through rational and theoretical arguments because a logical entity obtained through reason, disconnected from divine light, cannot accomplish anything unless one connects to the absolute.

Contemporary analytic philosophers do not consider ontology a distinct branch of knowledge. For this same reason, they do not see any legitimacy, or even any meaning, in discussing METAPHYSICAL realism. The author in this article takes sides with the meaningfulness of an inquiry about METAPHYSICAL realism. He takes a soft version of realism as his point of departure. The article points out to some historical backgrounds for the emergence of anti-realism, and suggests that all arguments supporting the idea of meaninglessness of realism are based on anti-realist suppositions, and therefore are self-destructive. 

In this article, we try to study the philosophical or METAPHYSICAL foundations of Islamic art by relying on the main currents of Islamic philosophies such as Peripatetic and philosophies and transcendent wisdom to focus on several key concepts such as the principles of light, the principle of unity and plurality, the principle of imagination. Explain the principle of manifestation, etc. and show that understanding philosophy of art or aesthetics in the general sense of the word in Islamic culture, unlike Western culture, feeds on philosophical, religious and even mystical principles. Mosques as an example of Islamic architecture as a work of great Islamic art throughout history have gathered all four principles in their various forms. The Islamic artist wears his mind and psyche on religious and mystical teachings before engaging in artistic creation. In this article, relying on the sayings of philosophers and mystics such as Suhrawardi or Ibn Arabi or Mulla Sadra, we try to show the elements or rather the above four supernatural principles by quoting the works of these thinkers and commentators of these thinkers that the content of Islamic art is completely spiritual and The boiling of this spiritual matter has been the boiling point of Islamic art throughout its long history.

It was in the late 16th and 17th centuries, at a time of political turmoil, new ideas and exciting discoveries, that the poetry we now call ‘METAPHYSICAL’ came to be written. The term ‘METAPHYSICAL poets’, coined by Samuel Johnson (following John Dryden, who first applied the adjective METAPHYSICAL to Donne specifically), came into being long after the poets to whom we apply it were dead.The first part of the paper looks at the ways in which the Renaissance, religious controversy, political conflict and contemporary culture influenced the lives of the poets and their poetry. It then gives brief biography of the major METAPHYSICAL poets’ lives.The second part provides an introduction to its cultural and historical context at a time when the Church was bitterly divided into increasingly extreme factions from Roman Catholicism to Puritanism. It also provides some introduction to the rediscovery of classical culture and learning and its influences on METAPHYSICAL poetry with its forms and themes.The last part deals with the nature of METAPHYSICAL poetry which makes demands upon the reader and challenges him to make it out with its strong lines, concentration and fondness of far-fetching metaphors called conceits. This figure of speech always associates John Donne and his followers. The strength of the religious poetry of the METAPHYSICAL poets is that they bring to their praise and prayer and meditation so much experience that is not in itself religious. They tried to be phenomenal in their thought and were careless of their diction.

In this article, we try to study the philosophical or METAPHYSICAL foundations of Islamic art by relying on the main currents of Islamic philosophies such as Peripatetic and philosophies and transcendent wisdom to focus on several key concepts such as the principles of light, the principle of unity and plurality, the principle of imagination. Explain the principle of manifestation, etc. and show that understanding philosophy of art or aesthetics in the general sense of the word in Islamic culture, unlike Western culture, feeds on philosophical, religious and even mystical principles. Mosques as an example of Islamic architecture as a work of great Islamic art throughout history have gathered all four principles in their various forms. The Islamic artist wears his mind and psyche on religious and mystical teachings before engaging in artistic creation. In this article, relying on the sayings of philosophers and mystics such as Suhrawardi or Ibn Arabi or Mulla Sadra, we try to show the elements or rather the above four supernatural principles by quoting the works of these thinkers and commentators of these thinkers that the content of Islamic art is completely spiritual and The boiling of this spiritual matter has been the boiling point of Islamic art throughout its long history.