زیباشناسی رنگ و نور در آثار ایران درودی با رویکرد ابن هیثم
آرشیو
چکیده
نظریه ادراک زیبایی ابن هیثم، کیفیات و ساختار بصری لازم در اثر هنری را مورد توجه قرار می دهد، ضروری است جنبه های بالقوه نظریاتش در حوزه زیبایی شناسی و ساختار بصری آثارش، مورد پژوهش قرار گرفته شود. ایران درودی با عناصر زیباشناسی به آثارش هویت ایرانی می دهد، او نور را هدف اصلی قرارداد تا به پندارهای فرهنگ ایران نزدیک شود و همچنین از نور برای القای بیان احساس خویش استفاده می کند تا مخاطب آن به مفهوم حس هنرمند پی ببرد و به این نتیجه رسیده است که هیچ رنگی خارج از تابش نور، رنگ نیست و رنگ ها فقط در مجاورت و تأثیرگذاری بر یکدیگر است که کیفیت و رنگ خود را بروز می دهند. باتوجه به ماهیت ساختاری نقاشی که زیبایی شناسی آن بر پایه اصولی است که کاملاً منطبق با 22 مواردی که در آرای ابن هیثم است، بررسی این موارد نظری و چگونگی کاربست آن در هنر نقاشی، هدف این مقاله است و در پی پاسخ به این پرسش که چگونه نظریه زیبایی شناسی نور و رنگ از منظر ابن هیثم را می توان با اصول مدرن زیبایی شناسی در آثار ایران درودی درک کرد، ابتدا ماهیت و ویژگی های آثار درودی را توصیف و تحلیل کرده و سپس آن آثار با آرای ابن هیثم را مورد تجزیه وتحلیل قرار می دهد. این مقاله که روش نظری آن، بر اساس نظریه پرداز فلسفه اسلامی ابن هیثم است. در این رویکرد زیباشناسی که به فرم اثر می پردازد ابن هیثم از زیباشناسی چنین تعریفی می کند: «زیبایی (حسن) را نه به عاملی بسیط، بلکه به تعامل پیچیده ای میان بیست ودو عامل تعریف کرد» و ابن هیثم تأکید زیادی به مفهوم دو مورد از 22 عواملی که نور و رنگ با یکدیگر نیروی انگیزش دارند، یعنی می توانند در نفس تأثیری ایجاد کنند که صورتی زیبا جلوه کند می پردازد. روش تحقیق از لحاظ هدف کاربردی و از نظر منظر روش انجام توصیفی تحلیلی است و اطلاعات نیز بر اساس مطالعات کتابخانه ای به دست آمده است.نتایج تحقیق بیانگر کارایی رویکرد ابن هیثم در حوزه زیبایی شناسی نقاشی معاصر است.Aesthetics of Color and Light in Iran Daroudi’s Works with Ibn al-Haytham’s Approach
Aesthetics is a branch of philosophy whose subject is the nature of beauty and taste, as well as the philosophy of art (it has its own field of philosophy that emerges from aesthetics). Also, aesthetics is an ability to better understand perceptions, as well as hard phenomena such as sculpture and soft phenomena such as music. It causes a change in a person’s mood and attitude. Ibn Haytham’s approach is akin to an experimental mindset based on a profound understanding of Greek science and philosophy, as well as the rational observation of humanity’s connection with the natural world and physical laws. Ibn al-Haytham’s proposed approach beautifully relates to a complex phenomenon. He has studied this subject as both a physicist and a thinker, leading to the establishment of this connection. Visual perception occurs because the eye is made up of layers, coverings, and numerous parts; however, its main component is located in the front part of the brain. In the treatise “Al Manazar”, Ibn al-Haytham’s explanation of the vision process as a major and preliminary cognitive experience has a surprisingly phenomenological and psychophysical tone. This issue is especially evident when he proposes the theory of sensory perception of the beauty of objects of perception (Al-Hassan). This treatise initially proposes an important scientific statement about the physical process of vision as a result of the actions of light and color and he believes that according to two principles of beauty in objects, they differ from each other, firstly because of the characteristics or general visual characteristics of those that he introduces in a list, and these characteristics are the general structure of objects or the ground. They create them, which create beauty also for example, light in the list of these 22 factors (characteristics), is the first item that creates beauty, and that is why we consider the sun, the moon, and the stars to be beautiful things, while it should be noted that the sun, the moon, and the stars are what enhance their beauty. There is no way to make things beautiful or to give them a beautiful shape, everything that exists is because of their brilliance. Ibn al-Haytham’s theory of perception of beauty takes into account the qualities and visual structure necessary in the work of art. It is necessary to research the potential aspects of his theories in the field of aesthetics and visual structure. Iran Darudi gives an Iranian identity to his works with aesthetic elements, he made light the main goal to get closer to the ideas of Iranian culture and also uses light to induce the expression of his feelings so that the audience understands the concept of the artist’s sense and he has reached this conclusion. that no color is a color outside of the radiation of light, and the colors are only in proximity and influencing each other, which reveal their quality and color. Due to the structural nature of painting, whose aesthetics is based on principles that are completely consistent with the 22 cases in Ibn al-Haytham’s opinions, the purpose of this article is to examine these theoretical cases and how to apply them in the art of painting, and to answer the question of how the aesthetic theory of light and color from Ibn al-Haytham’s point of view can be He understood the modern principles of aesthetics in the Iranian works of Darudi, first, he describes and analyzes the nature and characteristics of Darudi’s works and then analyzes those works with Ibn Haitham’s opinions. This article whose theoretical method is based on Islamic philosophy theorist Ibn al-Haytham. In this aesthetic approach that deals with the form of the work, Ibn al-Haytham defines aesthetics as follows “He defined beauty (beauty) not as a simple factor, but as a complex interaction between twenty-two factors.” This is a very subtle point that Ibn al-Haytham defined only two of these factors, light and color (which itself is a property derived from light). They have motivational power, that is, they can create an effect in the soul that makes the face look beautiful. The research method is practical in terms of purpose and descriptive-analytical in terms of perspective, and the information is also obtained based on library studies. The research results show the efficiency of Ibn Haitham’s approach in the field of aesthetics of contemporary painting. By achieving a powerful and masterful technique, this artist has been able to draw the most delicate and delicate spiritual vibrations and her aesthetic attitude on the screen of her paintings.
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