تطبیق نظریه زیبایی شناسی نور از منظر ابن هیثم با اصول زیبایی شناسی عکاسی مدرن
آرشیو
چکیده
ابن هیثم را می توان از جمله مهمترین اندیشمندانی دانست که در مواجهه با مفهوم زیبایی، مبتنی بر روش شناسی علمی سعی در تبیین آن بر مبنای اصول و ویژگی های عینی و ذهنی نموده است. او میان دو جنبه ادراک بصری و احساس بصری تفاوت قائل بود و ادراک بصری را حاصل احساس بصری تلقی می نمود و آنها را تحت عنوان معانی جزئیه نام نهاد که از منظر او جمعاً بیست و دو عدد است. با توجه به ماهیت ساختاری عکاسی که زیبایی شناسی صوری آن بر پایه اصولی است که کاملا منطبق با موارد مطروحه در آرای ابن هیثم است، تطبیق این موارد نظری و چگونگی کاربست آن در هنر عکاسی، می تواند علاوه بر تأکید بر اهمیت آرای هنری ابن هیثم، بازخوانی زیبایی شناسی ساختاری عکاسی را از منظری دیگر به همراه داشته باشد. هدف این مقاله، تطبیق میان جزئیات بیست و دو گانه ابن هیثم با ویژگی های ماهوی رسانه عکاسی از بعد زیبایی شناسی است و در پی پاسخ به این پرسش که چگونه نظریه زیبایی شناسی نور از منظر ابن هیثم را می توان با اصول مدرن زیبایی شناسی عکاسی مدرن تطبیق داد، ابتدا ماهیت عکاسی را تبیین کرده و سپس تطبیق آن با آرای ابن هیثم را مورد بحث قرار می دهد. این مقاله که از رویکردی تطبیقی بهره می برد، از نظر هدف بنیادی- نظری بوده و از نظر روش توصیفی- تحلیلی به شمار می رود. همچنین اطلاعات از منابع کتابخانه ای و تارنماهای گوناگون گردآوری شده و نهایتاً با رویکردی کیفی مورد تجزیه و تحلیل قرار گرفته است. بر همین اساس با توصیف موارد بیست و دو گانه زیبایی شناسی ابن هیثم و توصیف و تحلیل زیبایی شناسی عکاسی از منظر ساختار بصری، چگونگی تطبیق میان این دو مورد بحث قرارگرفت و نتایج تحقیق بیانگر انطباق و کارآیی کامل آرای ابن هیثم در حوزه زیبایی شناسی عکاسی مدرن است.متن
The Ibn Al-Haytham's theory of light aesthetics and the principles of Modern photography aesthetics: a comparative study
Ibn Al-Haytham can be considered as one of the most important thinkers who, when faced with the concept of beauty, tried to explain it based on objective and subjective principles and characteristics based on scientific methodology. He distinguished between the two aspects of visual perception and visual feeling and considered visual perception as the result of visual feeling and called them under the title of minor meanings, which from his point of view are twenty-two numbers in total. Considering the structural nature of photography, whose formal aesthetics is based on the principles that are completely consistent with the issues raised in Ibn Al-Haytham's opinions, the adaptation of these theoretical issues and how to apply them in the art of photography can, in addition to emphasizing the importance of Ibn Al-Haytham's artistic opinions brings the structural aesthetics of photography from a different perspective. The purpose of this article is to compare the details of Ibn Al-Haytham's twenty-two works with the essential features of photography from the perspective of aesthetics, and to answer the question of how the theory of light aesthetics from Ibn Al-Haytham's point of view can be reconciled with the modern principles of modern photography aesthetics. First explains the nature of photography and then discusses its compatibility with Ibn Al-Haytham's opinions. This article, which uses a comparative approach, is fundamental-theoretical in terms of its purpose and descriptive-analytical in terms of its method. Also, information has been collected from various library sources and websites and finally analyzed with a qualitative approach. Accordingly, by describing the twenty-two cases of Ibn Al-Haytham's aesthetics and describing and analyzing the aesthetics of photography from the perspective of visual structure, how to reconcile them was discussed, and the results of the research show the full compatibility and effectiveness of Ibn Al-Haytham's opinions in the field of modern photography aesthetics.Ibn Al-Haytham can be considered as one of the most important thinkers who, when faced with the concept of beauty, tried to explain it based on objective and subjective principles and characteristics based on scientific methodology. He distinguished between the two aspects of visual perception and visual feeling and considered visual perception as the result of visual feeling and called them under the title of minor meanings, which from his point of view are twenty-two numbers in total. Considering the structural nature of photography, whose formal aesthetics is based on the principles that are completely consistent with the issues raised in Ibn Al-Haytham's opinions, the adaptation of these theoretical issues and how to apply them in the art of photography can, in addition to emphasizing the importance of Ibn Al-Haytham's artistic opinions brings the structural aesthetics of photography from a different perspective. The purpose of this article is to compare the details of Ibn Al-Haytham's twenty-two works with the essential features of photography from the perspective of aesthetics, and to answer the question of how the theory of light aesthetics from Ibn Al-Haytham's point of view can be reconciled with the modern principles of modern photography aesthetics. First explains the nature of photography and then discusses its compatibility with Ibn Al-Haytham's opinions. This article, which uses a comparative approach, is fundamental-theoretical in terms of its purpose and descriptive-analytical in terms of its method. Also, information has been collected from various library sources and websites and finally analyzed with a qualitative approach. Accordingly, by describing the twenty-two cases of Ibn Al-Haytham's aesthetics and describing and analyzing the aesthetics of photography from the perspective of visual structure, how to reconcile them was discussed, and the results of the research show the full compatibility and effectiveness of Ibn Al-Haytham's opinions in the field of modern photography aesthetics.
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