today, the conflict between tradition and modernity is the inclusive and controversial dialogue in educational and professional circles of Iranian architecture. Perhaps many of those participated in these debates do not yet have a clear definition of tradition and modernity. Sometimes the meaning of tradition is positive and good and is a sign of identity, authenticity and cultural richness; and sometimes it means old, outdated and obsolete. The first step is to define and interpret term tradition in three directions: 1. The sacred (divine) tradition: sunnat Allah (God’s tradition) mentioned in Qur’an representing the way of salvation to human. This tradition has not changed and transformed.2- The experienced tradition: a tradition created by human’s experience, trial and error and make them needless of repeating the trails of their predecessors. This tradition can change and evolve over time.3- Legendary (mythical) tradition: a tradition arising from unmet needs and demands of the people. Since they have not been realized, they have been considered unattainable, eternal and sacred. In the following, such questions arise: 1. How long has emerged traditionalism? How do traditionalists think about it? And what do they think about architecture. 2. Is traditionalists’ tradition the case discussed in traditional architecture that many architects are willing to survive it? 3. Is traditionalists’ tradition in line with Iran’s cultural tradition and continuation thereof? Can it recreate the original Iranian architecture. In response, this paper considers traditionalism as a modern adventure and raises traditionalists’ tradition a cross-time, cross-location and cross-culture tradition, which claims universality and includes all the tribes of the Hindu, Buddhist, Christian and Muslim. Traditional man is drowned in a sea of traditions and traditionally had born, traditionally lived and traditionally would die, while traditionalists look outward to tradition. Traditionalism began during the early twentieth century with Rene Guenon’s ideas, and continued by thinkers such as Coomaraswamy, Schuon, Burckhardt and Nasr. The paper then analyzes and criticizes a work of traditional architecture that is Iran Center for Management Studies in Tehran, designed by well-known Iranian architect, Nader Ardalan, who is one of theorists of traditionalism in architecture. This criticism concludes that traditionalists’ architecture does not go beyond praise and emulation of traditional architecture and it does not have an up to date response for Iran’s present architecture even in its most worthy form. The final section of the paper addresses to describing Iran’s traditional architecture rather traditionalist architecture. In traditional architecture, the architect is a scholar and theologian man that receives teachings, facts and heavenly (sacred- divine) advices and applies them to make sense to architectural and professional achievements. An Iranian architect tries to give honor and dignity to his architectural and professional achievements. This paper concludes that architecture has two aspects: material and spiritual. Master of Traditional Iranian Architecture taught the spiritual aspect of architecture to students along with material aspect. In today's architecture training, if failed to teach spiritual aspect along with its material aspect, we have to suffice a pale imitation of architecturey after being as the capital of the province.

The Traditionalists’ theory of knowledge is philosophically grounded in Plato's epistemology and ontology. Based on this, and in harmony with the intelligible and the tangible realms, human intelligence acquires knowledge at two levels or two degrees. The intellect is at the highest cognitive level and is capable of perceiving universal truths. At a lower level, there is reason that is itself a partial aspect of the intellect. According to these two forms of intelligence, there are two types of knowledge: one, the metaphysical knowledge, and the other, the reasoning. The intellect comprehends metaphysical truths intuitively, immediately and at once, but the perception of reason is partial, gradual and intermediate, and through the process of reasoning. Recognition arising from the intellect, is true and complete, but the recognition resulting from reason is limited and incomplete. Reason deals with concepts, but in the intellect, the subject and object of knowledge are united. The sensory knowledge and the rational cognition, can cause to awaken the intellect and recall universal ideas, if the subject has certain qualifications.

Following the dawn of Islam's rich and comprehensive culture, all people, especially Muslim and even non-Muslim thinkers and scholars wanted to gain knowledge about the Holy Prophet of Islam -Mohammad (PBUH) -and Shiite leaders' ways and applying the universal life style led by these great characters in politics, economics, social and religious aspects so to revive the utopia of the Holy Prophet of Islam Mohammad (PBUH) era. One of the ways to reach this need is Hadith. Iran's unique geographical and historical position – especially in a time when Iran stands as the only country with a Shiite government – led to the formation of the Akhbarian cult. From the positive and negative results of this issue, we can refer to the gathering of various Hadith books, strengthening of this cult, and the weakening of religious rules and principles and jurisprudence.

Traditionalism is a current of thought in the critique of modernity, founded by René Gué non, Ananda Coomaraswamy and Frithjof Schuon, and Dr. Seyed Hussner. This article Review and critique the traditionalists' views on "science" in Islamic civilization, emphasizing the work of Dr. Seyyed Hosein Nasr as the most traditionalist thinker in the field. Philosophy and history is science. by showing the close connection that has been extracted between Dr. Nasr's Notion of modernism and His Meta-philosophy and his understanding of the relationship between science and religion in Islamic civilization, to formulate Dr. Nasr's special epistemological Approache, which in this article is referred to as " "religious hermeneutics of nature. "In the following, while analyzing the principles and accessories of this position, Nasr's strategy in the field of facing new science is critisize. at the final step of this paper Nasr's views on the relationship between science and religion and modernity and its civilizational implications are criticized.

A group of signs in the works of the New Traditionalists - Saqqa Kana’s artists- has roots in religious beliefs. One can categorize these elements into religious beliefs of mobs and the pure Islamic Wisdom. Some of these signs such as dot and circle in the realm of Islamic Philosophy, the importance of lectures, personalizing the letters, world of images or supernatural, etc. can bring the interpretation of modern art close to the way the philosophic interpreters did it for the Islamic art. Iran’s modern art, as well, has the capacity of being interpreted in different ways; Even if these meanings and interpretations were not the aim of the artist at the first place and they denied presenting them. With this approach, the present paper, after providing an introduction to the fundamental Islamic, aims to have a more detailed reading of some of Saqqa Kana’s works and shows that these Islamic Philosophy symbols, besides having decorative values, communicates the massages that can be find in the traditional and sacred form of Islamic art. The documentary and library sources as well as a group of artistic works of the founders of Saqqa Kana movement paved the way of the present research.

Ideological traditionalism emerged during revolution aftermath era and from intellectual conflicts of 1970s on the modernism, conceptualization of development paradigm and fulfillment of the local theories. Mehdi Nasiri has played an active role as the proxy of this mainstream. Therefore, the fundamentals of ideological traditionalist discourse can be captured studying his viewpoints. This research aimed at studying Nasiri’ s attitudes, as the proxy of ideological traditionalism, towards the modern development paradigm and its consequences for development plans and cultural policy. Thus, this research was performed through Case Study method tries answering this question: what is the most important ideological traditionalism basics related to the modern development and what consequences will be resulted from this approach for the development plan and cultural policy? The approach of ideological traditionalists has been represented based on the generally negating the modern development, Rejection of newly emergent, epistemic controversy with development, citing restrain and defending traditional and Islamic values. In this course, neither the western style development nor the Islamic style development has followers because as the traditional views of this mainstream proxy imply the nature of development is western which is in contradictory with Islamic logic. These viewpoints invoke the passive position where a future must be expected reconstruction of which is based on the returning to the tradition. Regardless of emphasizing the positive values, this discourse has not provided an alternative view for the development paradigm and lacks positive fundamentals to use practically to cope with the current problems in the cultural policy.

Two main approaches in studying Islamic art are perennial philosophy and historical perspective, which sometimes are in contradiction with one another. Historical discourse examines works of art based on contextual factors such as history, culture and society. In this approach, the analysis of artistic works is based on an accurate description of the work and the presentation of hypotheses happens through a scientific methodology. On the other hand, the perennial philosophy, by criticizing the fundamentals of modernity, puts its underlying principles on mystical concepts and with an idealistic view, introduces the discussion of traditional metaphysics of art in the field of Islamic arts. This paper through a descriptive-analytical method compares distinctive readings of these two approaches from seven examples of Islamic tiles and pottery. For this purpose, the opinions of the known thinkers of both approaches regarding the discussed examples have been compared to reveal their different views in the analysis of handicrafts. The most important question of this research is to identify the differences between the readings of these two approaches in studying the Islamic pottery. The data for this study has been gathered through library research. It can be said that the historians of Islamic art, based on the factors of time, geography, culture and politics, have done countless research on the artistic works of different periods. On the other hand, the studies of the followers of the perennial philosophy are mostly based on concepts and generalities about the manifestations of religious art,a method which can hardly be applied for the analysis of handicrafts

Traditionalism as a new brand thought having claimed thousands years thought base even in human history, try to analyze and study all civilization’s appearance. This analyze is so wild that there are no appearances of human life out of it. One of these appearances that Traditionalists have emphasized is art. Art as one of basic appearances of and society’s sense, culture and civilization was been attended by them. Among all of various kinds of Islamic Art, Islamic Calligraphy has a special place. It has had a deep linkage with other kind of Islamic Art such as Holy Quran Writing and other related arts, architecture and building decoration and in current time it has a strong connection with visual arts. So it is one of alive art in this kind of world art. Islamic Calligraphy could adjust itself with geographic and environmental conditions so well and developed as a main art in Islamic and even non Islamic countries. Traditionalists who studied Islamic Arts, have perused Islamic Calligraphy and among them Seyyed Hosein Nasr, Martin Lings and Titus Burckhardt have most portion about theorizing in Islamic Calligraphy. Among their theories and point of views about Islamic Calligraphy, their attitude about the beginning of it has been investigated in this article and tried to meanwhile our precise investigation, measure them with critical look to find out if we can embed traditional point of view about the beginning of Islamic Calligraphy in top rate of theories or not. Traditionalists generally have five theories about the beginning of Islamic Calligraphy. First source is “First Word”. Ambiguity in explanation of this phrase is our first serious critique to this theory. In addition, this theory’s contrast with rationality and even with their metaphysical bases must add to other critiques. Second source that Traditionalists try to theorize is Holy Quran. Even if this theory is correct and coincident with historical facts but it is just one of various causes that create Islamic Calligraphy. Arabs verbal tradition and lack of calligraphy’s past among them as well as occurrence some non-sacred happening that they motivate Muslims to write Holy Quran and necessity of governmental and literary writings propel Muslims to create Islamic Calligraphy. So just by revelation of Holy Quran did not create an art such Islamic Calligraphy. Furthermore we must say that Traditionalists have confused between writing of Holy Quran and Holy Quran Calligraphy. Third source is Islam itself or in Traditionalists’ interpretation totality of Islamic culture and civilization. Ambiguity in explanation of terms in their words just make their theory complex and possible interpretation. In addition if they try to offer it as Muslims’ reaction to Holy Quran, we explain our critiques in second source. Forth source is Loh-e Mahfuz. Ambiguity in their word and terms is saw in this theory too. Furthermore we analyzed it rationally and found out that this theory about the beginning of Islamic Calligraphy is in serious and obvious contrast with Traditionalists’ other theories in metaphysics and basic thoughts. Meanwhile they did not attend to peripheral, historical and geographical facts that they have important and deep influence on everything especially on art. Fifth source is Imam Ali (a.s.). This theory is one of few theories that there is disagreement among traditionalists. Seyyed Hosein Nasr believed that Imam Ali (a.s.) had made Islamic Calligraphy but Martin Lings thought that it is not possible because the Holy Qurans that they referred to Imam Ali (a.s.) never can write by him since their script refer to beginning or middle of Hijri third century. While Imam Ali (a.s.) had lived in first century and passed away in 40 of Hijri. In the end we concluded that among five sources that Traditionalists have theorized for the beginning of Islamic Calligraphy, four of them which include Allah or First Word, Islam, Loh-e Mahfuz and Imam Ali (a.s.) are in contrast with historical facts, rationality and logically necessities and even traditionalists’ metaphysical basis. So we must reject them. Only Holy Quran as one of the five sources that they mentioned is acceptable. But it is necessary that we pay attention that Traditionalists have not perused all futures of this source and they ignore important and great part of historical facts. As a result we must say that Traditionalists’ point of view about the beginning of Islamic Calligraphy is not reasonable and scientific.

Adopting a rigid perspective toward post Cartesian modernity, traditionalists have referred to a type of knowledge which has a supernatural quality and is related to degrees of existence. Rejecting the efficacy of experience and argument which are considered pivotal to post-renaissance epistemology, they assume that intuitive knowledge is the main source of intellect and getting access to truth. Intuitionism in traditionalism moves beyond methodology. It seems that we are facing a sort of paradigm shift which tries to change the established assumptions. The present article deals with the issue of whether the sacred knowledge could basically be called knowledge or not. To answer this question, we examine the two necessary elements of knowledge, truth and justification. Theconclusion is that most of traditionalists’ claims are irrational and have no justification. The realization of this knowledge in the contemporary modern world appears unrealistic.

In every civilization, we face art that is like a mirror reflecting religion, customs, etc. In the contemporary era, the school of thought that paid attention and re-recognized art in traditional civilization is the school of traditionalism, and the followers of this style of thinking are called traditionalists. In the traditionalist’s thought, art in the traditional civilization, in which nothing outside the scope of tradition that is in line with divine truth has the right to exist, has its own definitions, which are called “artistic”. On the other hand, in our civilizational background, we are faced with handicrafts, which is a production relying on hand power, and is not considered art in the common definition. In order for handicrafts to be placed in the field of art, we will face issues that can be pointed to such as: The creativity of this handicraft, its practicality, its integration with everyday life and other things in this art. Considering the meaning that traditionalists in modern and traditional society has towards art, it can be used to evaluate the artistic value of handicrafts. In this regard, we are faced with the question of what is the relationship between traditional art and handicrafts from the perspective of traditionalists. The research method in this article is descriptive and analytical, and the means of collecting information is based library research and data collection. In this article, by comparing the concept of traditional art and its characteristics with the concept of handicrafts and its related characteristics from the thought of traditionalists, we will reach the conclusion that handicrafts are in the framework of the concept of traditional art and the characteristics traditional arts is obvious in handicrafts and handicrafts is considered one of the most obvious manifestations of traditional art. In this way, the problems that occur in modern thinking on traditional and art vision can be solved.