تحلیل نگاره های دلدادگان مکتب اصفهان براساس مراتب سه گانه عشق درنظام اندیشه صدرایی
آرشیو
چکیده
یکی از ادوار درخشان فرهنگ و هنر ایران در دوران اسلامی، حکومت صفوی است. تحولات اجتماعی، سیاسی، فرهنگی و مذهبی در کنار گسترش روابط با کشورهای خارجی موجب شکل گیری گفتمانی جدید در این دوره می شود که تأثیرات آن را می توان در فلسفه، فرهنگ و هنر این عصر پی گرفت. این مقاله در نظر دارد با پرداختن به ویژگی های گفتمانی عصر صفوی به این پرسش پاسخ دهد که تأثیرات روح دوران در هنر نگارگری و تفکرات فلسفی به چه صورت بوده است و چگونه می توان بر اساس آن خوانشی نو از نگارگری داشت. در میان مکتب های نگارگری دوران صفوی، مکتب اصفهان به لحاظ فرم و محتوا دارای ویژگی های خاصی است که آن را از مکاتب ادوار گذشته جدا می کند؛ این تحول در بستر فرمی، با کاهش رنگ و قوّت گرفتنِ خط همراه است؛ به لحاظ محتوایی نیز استقلال تصویر از متن، موجب رونق گلشن ها و نقاشی دیواری می شود. همچنین تصویرگری از نقش انسان به صورت تک پرسوناژ و یا عشاق و دلدادگان رواج می یابد. هم زمان ملاصدرا بنیان های تفکرات صدرایی را شکل می دهد و در آن به مسأله عشق و مراتب سه گانه آن می پردازد. هرچند نمی توان مدعی شد که نگارگران مکتب اصفهان از اندیشه های صدرایی تأثیر گرفته اند، اما تجلی مفهوم عشق در بنیان های نظری- فلسفی این دوران و هنرهای تصویری کاملاً مشهود است که این مقاله علت آن را در گفتمان حاکم بر دوران می جوید. بر این مبنا این پژوهش به صورت تحلیلی- بنیادی و با استفاده از منابع مکتوب به تحلیل مراتب سه گانه عشق در اندیشه صدرایی پرداخته و سپس عناصر تصویری را در سه نگاره منتخب که مبین عشق حقیقی، عشق انسانی و عشق حیوانی است مشخص می نماید. نتایج تحقیق بیانگر آن است که مراتب سه گانه عشق در فلسفه صدرایی در نگاره های مکتب اصفهان، بٌعد بصری یافته و استقلال از متن ادبی و عرفانی موجب شده در مواردی چون نگاره تمثال شاه عباس با یکی از بانوان، نگارگر به تصویرگری مفهوم عشق فارغ از رویکردهای عرفانی و در مرتبه عشق حیوانی بپردازد و به این ترتیب رویکردهای استعاری و مجازی را به عنوان یکی از اصول کهن هنر به حداقل رسانده و تجسمی از زندگی روزمره و شخصی پادشاه ارائه دهد.متن
Analysis of Paintings of Lovers of Isfahan School Based on the Three Levels of Love in Sadra's System of Thought
One of the brilliant periods of Iranian culture and art in the Islamic era is the Safavid rule. Social, political, cultural, and religious developments along with the expansion of relations with foreign countries lead to the formation of a new discourse in this period, the effects of which can be traced in the philosophy, culture, and art of this era. This article intends to answer the question by addressing the discursive features of the Safavid era, what were the effects of the spirit of the era on the art of painting and philosophical thoughts. And how is it possible to have a new reading of the painting based on that. Among the painting schools of the Safavid era, the Isfahan school has special characteristics in terms of form and content that separate it from the schools of the past periods; This transformation in the formal context is accompanied by a decrease in color and the strength of the line; In terms of content, the independence of the image from the text will lead to the prosperity of wall paintings and murals. Depicting the human role as a single character or lovers and lovers is popular. Artists such as Reza Abbasi, Mohammad Yusuf, and Mohammad Qasim are among the most famous painters of this era. Also, at the same time, Mulla Sadra forms the foundations of Sadra's thoughts and deals with the issue of love and its three levels. Although the concept of love has existed in the philosophical thoughts of the past, for the first time, Mulla Sadra has addressed the level of earthly love and love between a man and a woman for the first time and narrates its features and characteristics. This issue is important because, in Iranian-Islamic culture, such feelings are always denied, and due to their insignificance, it has not been important in the course of philosophical thinking. Although it cannot be claimed that the painters of the Isfahan school were influenced by Sadra’s ideas, the manifestation of the concept of love in the theoretical-philosophical foundations of this era and visual arts is quite evident, and this article seeks the reason for it in the ruling discourse of the era. Based on this, this research analyzes the three levels of love in Sadra'i's thought in an analytical-fundamental way and using written sources, and then identifies the visual elements in the three selected images that show true love, human love, and animal love. According to Aghia Mulla Sadra, the levels of love have three stages: animal love, which is the lowest level of love, and its source is physical lust and the desire for animal pleasure, and it is more about the lover's admiration for the appearance of the beloved, the color and shape of his parts because these are physical and earthly affairs. are. The level of virtual love of the ego that belongs to the ego and in which the ego is in essence in love with the beloved. That is when the lover sees knowledge, perfection, piety, and courage in the beloved, and his soul demands knowledge, perfection, piety, and courage; So he loves a person who has these qualities. As a result, this type of arrangement does not involve sex and physical affairs. True love, is the highest order of love and divine love. A lover is a perfect human being, and a lover is a supreme essence with all its beautiful and glorious names and attributes. Therefore, in this order, there is no physical attribute for the beloved or an emotional one. Everything is the essence, and for this reason, the connection and unification of the lover and the beloved are possible at this time, because the other is removed from the midst, and man returns to his essence, which is divine and the same as the spirit of God. The results of the research indicate that the three levels of love in Sadra's philosophy in the paintings of the Isfahan school have found a visual dimension and independence from the literary and mystical text in cases such as the portrait of Shah Abbas with one of the women, the artist portrays the concept of love regardless of mystical approaches and in the order of animal love, thus minimizing the metaphorical and figurative approaches as one of the ancient principles of art and presenting an image of the king's daily and personal life. However, there are still elements in the images that confirm the divine view of Eastern thought; The existence of an azure sky without stars is a symbol of the heavens. The complementary color in the clothes of the lover and the beloved is an allegory of their inherent unity in the world of example. The existence of a young tree is an allegory of a seeker who travels the distance between the earth and the sky, and even though he is rooted in the soil, he always tries to move towards the divine light and bring himself closer to the essence of truth.
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