In this article, the role of Sacred Numbers in the wise foundation of Islamic art, as used in traditional art, is examined. A comprehensive and in-depth examination of Sacred Numbers, whose significance arises from their application in the designs, symbols, and patterns of this traditional culture. The Sacred Numbers in Islamic art are not only known as the figures that are valid in mathematics but also as spiritual and religious symbols. These Numbers include Numbers such as one, two, three, six, eight, nine, ten, and twelve, which are repeated in the Qur’an, hadiths, and other Sacred Islamic texts. However, the value of these Numbers is also related to the pre-Islamic centuries in Iran. So how these Numbers are used in Islamic art symbols is examined. In Islamic art, Sacred Numbers are considered symbols of religious and philosophical values. In this article, examples of the use of Sacred Numbers in architecture, music, calligraphy, and Islamic art painting are presented. These examples show that Sacred Numbers are used in art designs and patterns to represent Islamic religious and philosophical values and convey to the viewer deep messages. The purpose of this article is to express the importance and use of Sacred Numbers in Islamic art to show that these Numbers have been used as symbols of spiritual and religious values in designs, symbols, and patterns of Islamic art. This article has been conducted qualitatively using a descriptive-analytical method. The data have also been collected from library sources, scientific research articles, and reputable internet sites. The statistical population of this article is collected images of buildings and works that are formed and built through Sacred Numbers in Islamic art including Islamic architecture, geometric motifs, tiles and more. The findings of the article indicate that artists, including musicians, calligraphers, and traditional architects, etc., exploit the Sacred Numbers that have been rooted in the thoughts of former thinkers and philosophers such as Plato and Pythagoras, as well as balance, and proportion. Islamic art is one of the most important and influential cultural elements in Islamic history. This art has been widely developed in coordination with architecture, painting, calligraphy, astronomy, etc., especially in Iran, Saudi Arabia, Syria, and Egypt. One of the interesting and varied aspects of Islamic art is the optimal use of Sacred Numbers used in symbolizing and artistic design. The topic of Numbers is also one of the very interesting subjects, and the evolution of its concept among philosophers, logicians, mathematicians, literati, grammarians, and syntacticians is worth pondering. Therefore, the discussion of Numbers has been of great use in astronomy, astrology, and superstition. Sacred Numbers are a concept deeply associated with Islamic sciences and philosophy, such that in the Holy Quran and the Hadiths of the Prophet Muhammad (PBUH), great value and importance are given to specific Numbers like the Numbers one to nine. These Numbers are also used in Islamic art as a symbol of religious credibility and beliefs, one of the prominent examples of the use of Sacred Numbers in Islamic art is the architecture of the mosque. Mosques, as Sacred places for prayer and worship among Muslims, have unique artistic designs. In these designs, Sacred Numbers are used to create balance and harmony in dimensions, ratios, and decorations. For example, the ratio of length to width in the mosque structure is based on Sacred Numbers, and this helps the overall balance and beauty of the building. In addition, Sacred Numbers are exploited in art designs such as tile, mosaic, and inlay. These Numbers are used in Islamic patterns, stars, networks, and geometric designs and cause fitness and harmony in the designs. The purpose of this article is to examine the status of Sacred Numbers in symbolizing Islamic art. Given the importance of these Numbers in Islamic art, it is an examination of the concept and meaning of each Sacred number and how it is used in symbolizing Islamic art. This article will also address examples of the use of Sacred Numbers in the structure of Islamic art and their impact on beauty and communication with Islamic religious and philosophical elements. The main question of the article is: How have Sacred Numbers been effective in the wise foundation of Islamic art? This study has expressed the mystery of some Sacred Numbers in a qualitative and descriptive approach and has conceptually examined them.Regarding the significance of Sacred Numbers in the symbolism of Islamic art, we can refer to various books and articles that explore the recognition of the secrets of Numbers, as well as their role and impact on Islamic works of art, including “Star Signs” by Linda Goodman (2003). In this book, the author employs numerology and astronomy to explain how they can be used to understand the hidden meanings behind words, names, titles, and phrases. Additionally, Ahmad Aqa Sharif (1383) in “The Book of Secrets and Mysteries of Numbers and Letters” has limited himself to introducing the secrets of a few Numbers and has addressed the introduction of Numbers and letters across different cultures and their beliefs and convictions. Asadullah Baqaei (2006), in “The Secret of Seven: Symbolism and Mythology of the Number Seven,” has spoken about topics such as the Seven Valleys, Seven Arts, Seven Sins, Seven Labors of Rostam, etc. Also, Azam Rahmani-Rad and Tayyaba Eslami (2007), in “The Amazing Secrets of the Number Seven,” mention the significance of the number seven in most cultures, ancient civilizations, and folk legends. They also refer to the ancient roots and sanctity of the number seven, including the story of the seven angels whom God sent to Earth from the heavens to help earthlings and communicate with prophets. Hassan Balkhari-Qahi (2009), in “The Geometry of Imagination and Beauty (A Study of the Views of the Ikhwan al-Safa on the Wisdom of Art and Beauty),” while discussing the wisdom of craftsmanship in Islamic culture, has extensively analyzed the viewpoints of the Ikhwan al-Safa and Khwan al-Wafa and examined them in relation to the theories of other philosophers and thinkers such as Plato, Avicenna, and Khwaja Nasir al-Din al-Tusi. Ikhwan al-Safa and the wisdom foundations of art, based on Greek opinions, divide geometry into two parts: rational and sensory, and describe its application in human life.Majid Khazaei and Mehdi Momtahan (2011), in a study titled “Symbolic Representations of Numbers in the Quran, Mythology, and Literature,” state that creation has been concerned with the subject of counting from the beginning, writing, “It is not possible to determine a specific time for the discovery of Numbers.” However, the direct relationship of human civilizations in the formation of Numbers can be considered the evolution of human culture, as Numbers have been an inseparable part of the necessities of human life and thought. Mahmoud Sadeghzadeh (2013), in his article titled “A Study of the Semantic and Literary Application of the Numbers Seven and Forty in the Masnavi,” while referring to the mysteries of the number seven in ancient Iran and their beliefs, including the belief in the seven realms and the seven attributes of Ahura Mazda, examines the significance of this number in the Quran and Islamic traditions, as well as in Persian mysticism, literature, and proverbs. Miranda Burruss Mitford (2015), in her book “The Illustrated Encyclopedia of Symbols and Signs,” discussed symbolic number systems and identified Numbers in terms of their Sacredness and symbolic aspects in tribes and nations. Also, in another example, Hassan Balkhari-Qahi (2016), in his book titled “The History of Art in Islamic Civilization (Music and Architecture),” while examining arts such as music and architecture in Islamic civilization, deals in detail with the history, theories, styles, and developments of Islamic music and architecture from the beginning to the contemporary period.

The Sasanian Empire was one of the most important periods in ancient Iran and one that experienced flourishing of the Zoroastrian religion. As the official religion in the Sasanian to post-Sasanian period, Zoroastrianism can be understood better by studying evidence of the religion’s impact on artifacts such as glassware, coins, silver vessels, pottery, and textiles. This paper shows the importance of “Zoroastrian Sacred Numbers” on glass fabrication and its impact on a specific type of glassware. Based on his assumption that glassware designs reflect the beliefs of artisans, the author focuses on the number of the facets on the related glassware. To test this hypothesis, the Sasanian glassware is compared to other concomitant objects such as royal necklaces and flower petals used in the Zoroastrian Pahlavi manuscripts. This religion-inspired decorative technique continued into the Early Islamic period, during which Shiism strongly preserved the Zoroastrian legacy in glassware.

How the universe was originally created and the creation of natural elements and their fit with Numbers has always been of human interest. Although the myths of creation reflect the mindset of primitive man, they often seek a purposeful structure. With the importance and role that water has in life and has caused it to play a special role in the beliefs of all nations, a group of ancient tribes sought the origin of all creation in water. The existence of water at the beginning of creation based on ancient Iranian texts has always been considered and in the belief of the ancient Iranians, the creation of water takes place after the sky. In pre-Zoroastrian religions and also in Zoroastrian religion, water has always been Sacred and goddesses and goddesses were in charge of protecting and guarding it. A significant part of the myths of ancient Iranian religions is dedicated to water. In the cultural and biological system of the early periods of life, humans used special methods to recognize and introduce the phenomena of existence, one of which is myth. Myths are among the first arguments and cognitive explanations of early humans to determine the nature and location of the available and unknown elements of nature, and they include part of the human cognitive system in the beginning of mankind.  This research has studied and analyzed the role of Sacred Numbers three and seven in the creation of waters with a descriptive and analytical approach. The results of the research indicate that Numbers influence nature and the objects under their control, and in this way they mediate between God and the world of creation. In between, the number three is more spiritual and has a role in religious belief and Yazidi and good affairs, and the number seven is more material and sometimes spiritual in the creation of water.

This research was an attempt to study reasons for creation of some of the important and Sacred Numbers and their reflection in architectural and urban spaces. This subject matter is important because significant and Sacred Numbers were used in design and construction of a number of historical spaces. The research objective was to discover some of the reasons for formation of important and Sacred Numbers and their reflection in architectural and urban spaces. The research questions are: How and why were some Numbers considered important or Sacred? How the important and special Numbers are reflected in urban and architectural spaces? The research theoretical framework is based on the idea that important and Sacred methods were used in design and construction of a number of architectural and urban spaces (especially religious spaces) as well as public spaces. The idea also holds that architectural and urban spaces are reflections of civilization and culture of the society they belonged to. The descriptive analytical research method and sometimes the historical-interpretative research method were used for this research, because the research data consisted of historical and qualitative data. Architectural and urban spaces in Iran formed the dependent variable, and important or Sacred Numbers were the independent variable in this research. The statistical society mainly covered Iran, but examples of other important cultures are also referred to. Research results indicated that phenomena such as some of the Numbers related to human organs, natural and cosmic system numerical properties of the earth, some of the structural qualities of geometrical forms, a number of religious events and phenomena, the internal structure and order of arithmetic, and relationships between Numbers are factors influencing formation of important and Sacred Numbers.

Reflecting the impact of post-mythological legend in various fields of human life, the obvious thing and verified. It seems mystical one of the categories that have never been influenced by myths. One of these manifestations can be different in function of the Numbers in the mythical and mystical texts followed. In this descriptive-analytic style, expression and reflection of the tangible and intangible functions mythical Sacred Numbers in Persian mystical texts prose elected to the seventh century AH is investigated. Of course, the similarities never spent because of the influence of mythology and mysticism is not conscious, because the expression of ideas of human society in other fields also have to be observed and analyzed. The results of this study suggest that a group of Numbers, such as: one, two, three, four and seven of their multiples (forty, seventy, etc. ), five, six, twelve thousand, consciously or unconsciously according to the collective conscience of humanity shared between two category Common myths and mysticism, functions such as: unity, diversity and abundance, evolution, are Sacred and mysterious.

In mythological texts, Kayumars is introduced as the first man, prophet and the first king. In Farsi and Arabic texts remaining from the first centuries after Islam, often he is introduced as the first King. It seems that this side of Kayumars’ character could be the remnants of the narratives and informal and non- governmental Khodaynamehs prior to Islam which was most common in the Eastern Iran and to which one has no access. Also in Zoroastrian books left behind from the last centuries of the Sassanid reign and the first centuries after Islam which was written in Pahlavi language, Kayumars appears as the first man created by Ahuramazda and upon his acceptance of the Mazdaei religion, he brings salvation to the mankind. However it must be taken into account that all these narratives are the outcome of the thought processes of the official writers and priests in the Sassanid era. The heroic narratives in the eastern Iran which recognizes Kayumars as the first king in the Pishdadi dynasty are not far from the priests’ narratives in the western Iran in terms of time. Now the question arises that whether these narratives in the earlier times were as such? Was Kayumars regarded as the first creature, created by the Ahuramazda in those first days?This article attempts to put forward a theory in which Kayumars is part of the mythological archetype of the Sacred marriage between the “God of heavens” and the “Goddess of the Earth” that caused the growth of plants or birth of humans from the Earth’s core and it is believed that Kayumars in this ancient myth, is the name of the seed from the God of the heavens.

Mathnavi Ma'navi is the greatest of mystical works in Persian literature which enjoys comprehensive dimensions and different literary styles. Among the expressive features of Mathnavi is the use of Numbers seven and forty in a variety of forms.Through analyzing verses in six books of Mathnavi, and also by using experts and critics' views, this study points to philosophical, religious, and scientific views about Numbers and the role of Numbers seven and forty in Persian literature, and then analyses and evaluates literary and meaningful application of these two Numbers in Mathnavi Ma'navi. Numbers seven and forty are used in Mathnavi in relation to concepts of paucity, pluralism and equality. In most cases in proportion to the subject matter, both Numbers are used for expressing mystical concepts, and creating imaginative and literary figures.

This is a semiological study of Sacred form, its raison d' être and its ontological relationship to time and space. The analogy of architectural and musical proportions is used as a basis for architectural creation. The study concludes with a description of different proportion systems which lead to a new approach to the study of Islamic architecture.      

The main goal of this paper is to study the changes in the situation of the Sacred and the moral in the Iranian post revolutionary society. The results of this research show that Iranian government has made vast policies for sacralizing the time, place and so publicization of religion. Faced with these policies, the society sometimes has accompanied, sometimes has resisted and sometimes has invented new forms of religiosity. So it is difficult to say that Iranian society has secularized. What has happened is more changing the forms of religiosity. On the other hand, the research results show that Iranian society is in the crises of social capital and trust and is in anomic situation. There is a rupture between religion and ethics and the social authority of religion is weakened. The result of publicization of religion is vanishing the distinction of Sacred and profane. The desacralized Sacred has come to birth,the Sacred that is present in society but does not have privacy and dignity and is not capable of producing solidarity in the society. So it can be said that policy making for moralizing the social life has not succeed.