تبیین خردگرایی در شاخصه های طراحی سنتی ایرانى از منظر زیبایی شناسی سینوی (مورد مطالعاتی: نقوش گیاهی) (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
طراحی سنتی با ارزش های بصری، نمادگرایانه و رمزپردازانه ترکیبی از مجموعه ای از نقشمایه ها است، که با ترکیبی متناسب با کاربرد و قواعد و اصول حاکم بر چگونگی ترسیم آن ها، بر مبنای تناسبات هندسی به تصویر درمی آیند. اصول و ویژگی های خاص طراحی سنتی نظریه صرفاَ خیالی بودن نقوش را به بوته تردید و آزمون کشانیده؛ تا علاوه بر نقش موثر مولفه خیال، عامل دیگری چون «خرد» در لایه های پنهان تری از اصول و مبانى جستجو شود؛ با هدف این که به مدد جایگاه خرد، طراحی سنتی از تکرار رها گشته و منجر به گفتمانی متفاوت و نوآورانه در این عرصه گردد. لذا در این پژوهش به منظور تحقق این هدف و ارائه نظریه ای نو، با طرح این پرسش که «مولفه خردگرایی در روند طراحی سنتی ایرانی بر مبنای دیدگاه زیبایی شناسی ابن سینا چگونه تبیین می گردد؟» به بررسی اصول موجود در طراحی سنتی، با تمرکز بر نقوش گیاهی به عنوان بنیادی ترین نقوش و تطابق با اصول زیبایی شناسی ابن سینا پرداخته شده و نتایج حاصل حاکی از آن است که: اصول و قواعد مستتر در طراحی سنتی مطابق با اصول زیبایی شناسی بوعلی، تابع حُسن نظم، حسُن تالیف، حسُن اعتدال می باشد. پس می توان گفت گه این قواعد برآمده از خیال معطوف به عقل یا به بیان ابن سینا، «شهود عقلانی» است و حاکی از راهبری خرد در روند طراحی سنتی است.Explanation of Rationalism in Persian traditional designing indicators from Avicenna's aesthetical point of view
Introduction Traditional Persian arts, with all their aesthetic and semantic aspects, are derived from the Iranian culture, thought, and beliefs and are eminent manifestations of the notion of tradition for Iranians. Traditional designs with symbolic motifs and patterns constitute the foundation of traditional arts. Such arts are mainly characterized by the artist’s reluctance to imitate the nature and his or her focus on abstraction and expression of symbolic concepts. If traditional motifs are measured and appraised in terms of the right criteria and principles, it turns out that they are not only non-repetitive but also fully ingenious and creative, and display themselves in the design through a refinement made in the artist’s mind. Such intellectual analyses prevailed in line with rationalistic theories that relied on reasoning and arguments since fourth century AH (tenth century CE) along with the prevalence of the rationalistic Peripatetic philosophy and then Avicenna’s theories of psychological faculties, particularly the human-specific rational or intellectual faculty. For Avicenna, the human intellect has degrees and it has the potential to move toward perfection. One comes to obtain the ability to connect to the Active Intellect (al-ʿaql al-faʿʿāl) or the Bestower of Forms (wāhib al-ṣuwar) by developing one’s intellect, and then enjoys its grace and emanation, in virtue of which one knows and understands the world and finds the ability for reasoning and acquisition of knowledge. Avicenna believes that imagination is directed at the intellect or reason, and the artist’s perceptions are of the same kind as intellectual intuition. Avicenna enumerates certain principles for the beauty of a work of art, suggesting that its beauty results from reason or intellect. The principles include good moderation, good synthesis (proportions), and good order. On the other hand, the method of drawing traditional motifs were transmitted to us through generations. The superficial aspects of traditional motifs are addressed in Dr. Ali Hasouri’s Foundations of traditional design, Dr. Abolghasem Dadvar’s Theoretical foundations of traditional arts (a collection of the views and theories of Muslim intellectuals about art and aesthetics from the perspective of Islamic philosophy and mysticism), and Dr. Yaghoub Azhand’s Seven decorative principles of Persian art (all in Persian). However, they fail to formulate the rules of formation in the method of drawing the motifs and the scientific criteria they involve. Perhaps they have taken these for granted, while an analysis and formulation of the roots and rational dimensions of the principles and rules of the traditional design can lead to creative motifs. Accordingly, preservation, revival, development, promotion, innovation, and a new discourse in the domain of traditional designs require a scientific and artistic underpinning, saturated with philosophical and intellectual grounds. Method of Research The present research draws on the method of theory evaluation and an assessment of how Avicenna’s aesthetic principles corresponds to the rules of drawing the traditional motifs to present a theory about the rationalistic design of the rational traditional Persian vegetal motifs as the most fundamental and widespread motifs. The data were collected through a library-documentary method, and finally the findings are presented through a descriptive-analytic method. Discussion and Results The method of drawing traditional vegetal motifs alone or alongside each other follows certain principles and rules, each of which is separately matched with Avicenna’s aesthetic principles, including: With respect to their aversion of nature, their abstraction, simplification, symbolism, and centripetalism (manifestation of unity and multiplicity), the motifs are expressive and have “good order”; that is, their parts are proportionate to, and harmonious with, the whole. The motion and dynamic of the motifs, their ge
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