حکمت خاک در عرفان هنری خیام نیشابوری
آرشیو
چکیده
در عرفان هنریِ حکیم خیام نیشابوری-که تجربه های هنرمندانه او در فروغ آموزه های عرفانی است- گاه با واژگانی روبرو می شویم که وی به دفعات دراشعار خود تکرار کرده است؛ تکراری که شاید گونه ای تذکارباشد. از جمله این واژگان خاک، گِل، کوزه، کوزه گری ومواردی از این دست است که تبیین آن می تواند به وسعتِ فهم ما از بُن مایه هایِ ارزشی هنر ایرانی اسلامی منجر شود. خیام؛ پیش و بیش از همه اهل حکمت است و شاعری او در ذیلِ اتصاف او به حکمت معنی می یابد. لذا به نظر می رسد که او شعر را - بیانی مخیل و تبیینی می داند- ومَرکبی برای مقصدی خاص برمی شمارد. اما آنچه او انجام می دهد محصول اراده ای هنرمندانه در قالب رباعی-به عنوان ظرفیتی برای بیان موجز، مستحکم و کامل است. او از ظرفیت های نمادین خاک و کوزه برای نهادینه سازی مقصد حِکمی خود نهایت استفاده را می کند. این مقاله بانگاهی پساساختارگرایانه ، به روش مطالعات توصیفی تحلیلی و با هدف تبیینِ عرفانی نمادهایی چون خاک و کوزه دراشعار وی به رشته تحریر درآمده و نگارنده کوشیده تا با رویکردی کیفی به گردآوری شواهد مکتوب آن بپردازد و بکوشد تا از منظر اندیشه ورزی حکمی به تبیین عنصر خاک در رباعیات خیام نیشابوری بپردازد.The Wisdom of the Soil in Khayyam Neyshabouri's Artistic Mysticism
Art has always played a significant and important role in the effective transmission of ideas and judgments.The Wisdom of the Soil in Khayyam Neyshabouri's Artistic Mysticism To explain the aspects and dimensions of Iranian Islamic art, the discovery of mystical and esoteric foundations and contemplation on the inner aspects of this art is an undeniable necessity. Iranian art cannot be identified without mysticism. Mystics and artists reach common ground in the field of Iranian art; Both mysticism and art reach the nature of existence through the path of discovery and rational intuition - that is, the reflection of absolute existence (absolute light). Both the mystic and the artist consider the universe as a manifestation of God's love. The difference is that mystics have no obligation to share their mystical findings with everyone, and this is the reason for using the code language. But artists have to convey their mystical findings in a tangible way. As a result, the most serious topics of nominal art in mystical texts have been highlighted and the most magnificent works of art in Islamic culture belong to those who have walked the path. Since in the field of art and mysticism we see traces of each of these phenomena in the other, we can examine this relationship in the worldview of mystics and mystical artists. The traditionalists who emerged in the world of modernity with the element of tradition seek to create a world using the world of art and mysticism to guide the modern man from the turmoil of the modern world which leads to the originality of the partial intellect to the general intellect. They believe in the influence of art and mysticism on each other and challenge works of art in a mystical context. Mystics and artists look at all phenomena of existence from the perspective of intellectual intuition and consider them as symbols of God's grace. Among these cases we can mention the soil. In the artistic mysticism of the sage Khayyam Neyshabour - whose artistic experiences are in the light of mystical teachings - we sometimes come across words that he has repeated many times in his poems; A repetition that may be a kind of reminder. Among these words are soil, mud, jar, pottery, and the like, the explanation of which can lead to a broader understanding of the valuable foundations of Iranian Islamic art. Khayyam; First and foremost, he is a man of wisdom, and his poetry finds meaning under wisdom. Therefore, he seems to consider poetry - an imaginative and explanatory expression - and a compound for a specific purpose. But what he does is the product of an artistic will in the form of a quatrain — as a capacity for concise, solid, and complete expression. He makes the most of the symbolic capacities of soil and jars to institutionalize his ruling destination. This article is a post-structuralist approach, written by descriptive-analytical studies with the aim of explaining symbols such as soil and jars in his poems, and the author has tried to collect written evidence with a qualitative approach. Keywords: soil, artistic mysticism, Khayyam, world,jar
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