بررسی تجلی وحدت در مسجد امام اصفهان براساس آراء ابن عربی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
معماری یکی از هنرهای بسیار مهم بشری است که تأثیری شگفتی همواره بر انسان ها داشته است و همانند هر هنری چه بسا بتوان گفت، مهم ترین و محوری ترین موضوع آن "هارمونی" است. گرچه هارمونی در موارد بسیار گوناگونی تعریف می شود، اما جوهره ی هارمونی در واقع همان "وحدت" است. یعنی اجزای متکثر در کلّیتی وحدت و تمامیت می یابند. که لازمه ادراک فضای معماری است. همچنین در فلسفه اسلامی ادراک این جهان استهلاک کثرت در وحدت است. طبق وحدت وجودی ابن عربی، وجودی واحد در پس تکثر این جهان مستتر است، در واقع تکثر و تعددی که در عالم نمایان است، ناشی از ظهور وجود حقیقی واحد است که نمایانگر وحدت کلی می باشد. هدف از پژوهش حاضر دستیابی به ماهیت این وحدت و چگونگی وقوع آن هست. سوالاتی که در این تحقیق مطرح هست؛ بررسی ماهیت این وحدت و قابلیت تطبیق پذیری آن در آراء ابن عربی و معماری و اینکه چه زمینه های مادی در فضای معماری برای رسیدن به وحدت فراهم شده است؟ پژوهش حاضر از نوع کیفی تحلیلی- توصیفی بوده و راهبرد پژوهش مطالعه ی موردی (مسجد امام اصفهان) با رویکرد تفسیری می باشد. این تحقیق با تحلیل تجربه ی وحدت در کثرت در مسجد امام اصفهان، ارتباط این موضوع را در آراء ابن عربی و معماری مورد بررسی قرار می دهد. از نتایج اصلی پژوهش، نقش خیال در معرفت وحدت بر مبنای وحدت وجودی ابن عربی و سیر از کثرت به وحدت در فضای معماری اسلامی می باشد. همچنین همان طور که در وحدت وجود، یافتن وجود و وجودیافتن یکی است و این یافتن، از طریق کشف و شهود است. در معماری مسجد امام اصفهان، با ایجاد فضای معنوی با استفاده از عناصر زوجین (زوجیت خیال)، بستری برای کشف و شهود وحدت توسط ناظر فراهم شده است.Manifestation of Unity in the Imam Mosque of Isfahan according to Ibn ʿArabī’s Views
Introduction Human agency, both in creation and in recognition of architectural space and their interaction with the space, has been affected by the hidden harmony that is generated in the space, which turns the architectural space away from its static state, stillness, and lifelessness, and the core of the harmony is indeed the “unity”; that is, multiple parts find unity and totality within a whole that creates a sense inside, which fits the aesthetic desire and indeed the internal human self, because the human self seeks unity and suffers from multiplicity, diffusion, and conflicts (Ardalan et al., 2011). In fact, it might be acknowledged that architecture as a created work secretly involves the creation of multiplicity and turning it into unity in interaction with humans. Given the idea of the unity of existence (waḥdat al-wujūd) in Islamic mysticism, a world is portrayed that is, first, divine and spiritual, where the song of holiness resonates, and second, it involves a unity by which all multiple parts are unified, or more precisely speaking, all that exists is a manifestation or representation of the one unified reality. In this way, art in general and architecture in particular might come to have a different color. Unity of existence is evident in architectural work in the Islamic world, but the character of this unity is not adequately discussed. A genuine perception of unity in architectural space is not confined to external senses. To the contrary, in its higher degrees, i.e., internal senses, it affects the observer. The goal of the present research to identify the nature of this unity and how it occurs. The question of our research is as follows: are Ibn ʿArabī’s views of unity applicable to architectural space, and what material grounds are prepared in architectural space to attain the unity? To answer the question, we begin with an overview of Ibn ʿArabī’s mystical view, where the question of existence and knowledge of unity is discussed as the foundation of Ibn ʿArabī’s mysticism. According to our surveys, the issue of whether Ibn ʿArabī’s account of unity is applicable to architectural space has not been properly addressed in the past research. Instead, issues of the unity of existence and multiplicity within unity have been discussed separately in philosophy and architecture. Moreover, the architectural literature tends to focus on corporeal, visual, and symbolic aspects of architectural parts in the realization of unity. In the present research, we draw Associate Professor, Department of Architecture, Faculty of Architecture and Urbanism, Tabriz Islamic Art University, Tabriz, Iran (Corresponding Author). oskoyi@tabirziau.ac.ir Professor, Department of Philosophy, Faculty of Persian Literature and Foreign Languages, University of Tabriz, Tabriz, Iran. mortezashajari@gmail.com D. Candidate of Islamic Architecture, Faculty of Architecture and Urbanism, Tabriz Islamic Art University, Tabriz, Iran. m.haydari@tabriziau.ac.ir Assistant Professor, Department of Islamic Education, Faculty of Multimedia, Tabriz Islamic Art University, Tabriz, Iran. sjsharabiani@tabriziau.ac.ir Date received: 2022/03/19, Date of acceptance: 2022/07/19 This article has been extracted from the course "Wisdom in Islamic Architecture" in the Faculty of Architecture and Urbanism of Tabriz Islamic Art University. on Ibn ʿArabī’s views about the questions of existence and knowledge of unity as the foundation of his mysticism to tackle material and perceptual grounds in the Islamic architectural space to examine the move from multiplicity to unity. Method of Research Methodologically speaking, the present research is descriptive-analytic, adopting the qualitative research approach. Qualitative research involves identification of the relevant references, studies and overviews of the written sources, comprehension of their meanings, and extraction of the relevant material, establishment of relations between issues, and providing descriptions an
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