نگارگری ایرانی تجلی گاه ملکوت خیال ( با تأکید بر آرای شیخ شهاب الدین سهروردی در باره عالم خیال (مثال)) (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
نگارگری ایرانی هنری است که توانسته در گذرگاه زمان، راه و رسم به ترسیم کشیدن جمال را برپا دارد و بر روی بال های پرواز خیال نگارگر از جمال صوری به سوی جهان و اموری فراتر از آنچه مشهود در حواس ظاهری پنجگانه اش است، کشیده شود. جهانی که سهرودی ضمن اذعان به وجود آن تلاش نموده با دلایلی وجود آن را اثبات نماید و همه حکمای اسلام و ایران نیز به این بحث بازگشته و آن را بسط داده و در حکم سرچشمه، از آبشخور آن سیراب شوند. نگارگر ایرانی چنان حکیمی اشراقی با ورود به عرصه شهود و اشراق با پیروی از مفهوم فضای منفصل (عالم خیال)، توانسته سطح دو بعدی نگارگری را به تصویری از مراتب هستی مبدل سازد و با ارتقای بیننده از افق حیات عادی و وجود مادی به مرتبه ای عالی تر، او را متوجه جهانی سازد، مافوق این جهان جسمانی، لکن دارای زمان و مکان و اشکال خاص خود. این پژوهش با تبیین و تحلیل هویت عالم نورانی خیال از نگاه سهروردی و برخی نگاره های ایرانی و تحلیل زیبایی شناسی و نمادشناسی آنچه از نماد نور و خیال در آنها نمود بارز دارد، به این مطلب برسیم که نگارگری ایرانی صحنه ظهور و نمایش عالم ملکوتی خیال می باشد.Persian painting: Emanation of Imagination kingdom* (with emphasis on ideas of Shikh Shahab ad – din Sohrawardi , Imagitional world (mundus imaginalis))
Painting is one of artistic fields having on its top rank the name of Iranan artisti. It’s an art wich over time has managed to set up the way for drawing beauty and to rise over the imagination wings of painter from formal bueauty toward a world and affairs beyond what is tangible whith it’s five senses. The world is the one which Shikh Shahab ad – Din , sohrawardi(580-549) as the first illuminational(or Eshraq) philosopher and as founder of its ontological, whilst admitting it’s existence, tried to proof it by proposing some rational and traditional evidences and mystic intuition, and all of islomic sages have turned to the discussion, expanded it and the discussion it and the Persian spirit has fulfilled from the source. Iranain paniter, such a illuminational sage, by entering to the illumination realm and following the concept of discrete space (ideal realm or mundus imaginalis) has managed to transform the two dimensional painting into a picture of universe hierarchy and sublimate the viewer from the material being, ordinary life and daily conscience to a more sublime rank, and turn him/his to a world beyond the material world with its own special time, place and forms and events taking place in a non – material manner. While if he/she is unaware purgatorial imagination of the world has been unable to explain meanings of the symbols and unlock secret codes and meaning, and been unable to reach the truth and inevitabily, all symbols and codes to a series of metaphors or tropes limit on turn. Existence of mundus imaginalis provides this opportunity for artist painter to make up with amazing imagery, beauty and amazing creatures, and to express facts about the nature beyond. Manifestation of the beauty and brightness, and display the artist's existence, supreme light (Nooral anvar). In fact, in degree or manifestation of light and natural beauty is result of divine beuty self- manifestation (Nooral anvar) that Persian painting trends of the high ground beyond the materialistic trends of , it is made. This painting seeks to express the deep symbolic meanings and the fact that the inner and divine will, and reflection of spirituality by it to show of spirituality and inttelectuality of civilization through the territory in which the loom. This reaserch aims to explain The nature of the light universe from the view point of sohrawardi, in accordance with the teachings of islam and the Quran and Islamic Art to investigate some of Persian images and analysis of aesthetic and symbology of evident expressions of the light and imagination symbol in them including golden color, ornamental, flame, light aura concluded that the Persian painting is a scence to exhibit and represent the divine imagination universe. Absence of light - bright, uniform lighting and,especially, night lighting in the motif(image) and the presence of Halh explained in light of the luminous splendor " Farrahe Kayani" has proven author's claim. Way of contents, descriptive , analytical and material resources , and pictures of the library is compiled.