The artistic and aesthetic taste of domes and their philosophical implications in Karbala, the Husseiniya and Abbasia domes as a model

The research entitled (The artistic and aesthetic taste of domes and their philosophical implications in Karbala, the Husseiniya and Abbasia domes as a model), where I found that countries are measured by their arts and that any history in any era must be known through art or artistic architecture, so there are leaders and greats after them infallible Imams (peace be upon them). The situation led to the construction of domes over their graves, and then developed in a striking way. I liked to take the artistic and aesthetic taste inside the holy dome in my research and proceeded to write the research. It included several chapters. The first chapter was about two sections, the first of which talks about an introduction and the methodological framework of the research and the second topic about previous studies, the second chapter consists of three sections, the first includes pure beauty in pure form, and the second topic deals with the reality of artistic taste in the dome, as well as the philosophical dimensions of the artist in architecture and decoration and how to use the thuluth line in the dome. As for the third chapter, it was a research community, samples, and expert opinions, method of analysis, analysis of samples, and the fourth chapter consists of results, conclusions, and recommendations.

I have been reached to important results in this research, including that the Muslim artist who decorates the dome must be of a degree of religiosity, conciliation, and artistic insight in order to be able to show the artistic taste inside the dome to the general public and to those with artistic competence in particular because it conveys the moral and spiritual aspect with The pure beauty of the connoisseur as well as the philosophical aspect that expresses in the work of art.

I also found that the Muslim artist has devoted himself to his artistic work and has a philosophical connotation in decorating the dome that contradicts the secular artist, as he cares about form at the expense of meaning , and didnt stick to the ( I ) , asking to be close to Allah. Contrasted with the Western artist who was sticking to the (I) in his artwork