نور و تجلیات آن در مسجد شیخ لطف الله: تبیین دیدگاه های ابن عربی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
هنر اسلامی به واسطه اندیشه اسلامی، مشروط به تعبیر خاصی از ارائه اثر بر پایه تجلیات معنوی است. بر همین اساس، هنرمند در نگرشی تنزیهی، هیچ گاه به ذات الهی تحدی نمی نماید، بلکه با نگاهی آمیخته به نگرش تشبیهی اثرش را مظهری از تجلی الهی قرار می دهد. سؤال پژوهش حاضر این است: چگونه نور مطلق و تجلیات آن در مسجد شیخ لطف الله بازتاب یافته و تا چه حد می توان این بازتاب ها را با دیدگاه این عربی تطبیق داد؟ این مقاله قصد دارد تا با بررسی جنبه های مختلف کاربرد نور در مسجد شیخ لطف الله، ارتباط میان طراحی معماری و مفاهیم عرفانی مرتبط با نور در عرفان اسلامی را تبیین کند و نشان دهد چگونه این مفاهیم به طور هنرمندانه ای در این بنای تاریخی تجلی یافته اند. هدف نهایی، ارائه تحلیلی تطبیقی از جنبه های معنوی و عرفانی نور در مسجد شیخ لطف الله و دیدگاه های محی الدین ابن عربی است. روش تحقیق در این مقاله به روش توصیفی تحلیلی بوده و در روش گردآوری اطلاعات ضمن استفاده از منابع کتابخانه ای، از تحقیقات میدانی شامل بررسی و مشاهده استفاده شده است. نتایج پژوهش نشان می دهد که طراحی نور در مسجد شیخ لطف الله به طور هوشمندانه ای مفاهیم عرفانی ابن عربی را به نمایش می گذارد. نور در این مسجد، هم به عنوان نمادی از نور مطلق و ذات الهی عمل می کند و هم به طور نمادین و تجلیاتی در فضای معماری ظهور می یابد. طراحی نور به گونه ای است که تجربه ای معنوی و عرفانی را برای بازدیدکنندگان فراهم می آورد، به طوری که بازتاب نور در این مسجد به نوعی با مفاهیم تشبیه و تنزیه و مراتب نور در عرفان ابن عربی مطابقت دارد. به عبارتی، نور نه تنها جلوه ای از حقیقت الهی را به نمایش می گذارد بلکه به واسطه طراحی هوشمندانه و غیرمستقیم آن، به جنبه های پنهان و فراتر از درک انسان نیز اشاره دارد.Light and Its Manifestations in Sheikh Lotfollah Mosque: Explanation of Ibn Arabi’s Views
The concepts of similitude and transcendence in Islamic theology are fundamental and challenging topics that have been the focus of philosophers, theologians, and mystics throughout Islamic history. These concepts pertain to how God is described through divine names and attributes and the interpretation of the relationship between the multiplicity of the world and the essential unity of the divine. Similitude involves making God comparable to creation, which, if taken to extremes, may lead to restriction of the concept of divinity. Conversely, transcendence involves keeping God free from any resemblance to human attributes, which, if pursued without limits, can render the understanding of divinity obscure and inaccessible.The balance between these two approaches has always been a challenge in Islamic thought, and understanding this balance is crucial for a more precise appreciation of Islamic art. Islamic art, shaped by Islamic philosophy and mysticism, strives to find a way to express the divine truth without falling into extreme similitude or transcendence. Among the prominent Islamic mystics, Ibn Arabi has provided a balanced perspective on similitude and transcendence, attempting to harmonize and integrate these concepts. According to Ibn Arabi, a complete understanding of divinity and Islamic art depends on the synthesis and balance between these approaches. He believes that excess in either direction can lead to misguidance and a limited understanding of divine truth. Therefore, Islamic art, in its perfection, is an effort to create a balance between similitude and transcendence. Instead of a direct imitation of nature, it utilizes elements like light in such a way that reflects profound mystical concepts without falling into the extremes of similitude or transcendence.Light, as one of the primary elements in Islamic architecture, has always played a role beyond mere aesthetic considerations, serving as a symbol of divine presence and manifestations in the material world. The Sheikh Lotfollah Mosque, one of the most outstanding examples of Safavid architecture, especially in terms of light usage is considered a masterpiece. With its unique lighting design, this mosque not only creates a beautiful and enchanting space but also artistically displays profound mystical concepts.Ibn Arabi, a major Islamic mystic, pays special attention to the notion of absolute light as the manifestation of the divine essence. He interprets light not only as a physical phenomenon but as a symbol of divine truth appearing in the world. In this context, the Sheikh Lotfollah Mosque, through its use of light, symbolically refers to these divine manifestations, establishing a connection between Islamic art and mysticism.Although the architecture of the Sheikh Lotfollah Mosque has been extensively studied from aesthetic and historical perspectives, research specifically addressing the connection between the mosque’s lighting design and mystical concepts is relatively scarce. This study explores the relationship between lighting design in the Sheikh Lotfollah Mosque and the notions of absolute light and divine manifestations in Ibn Arabi’s mysticism. The primary questions are: How are absolute light and its manifestations reflected in the architecture of the Sheikh Lotfollah Mosque? To what extent can these reflections be aligned with Ibn Arabi’s mystical views? What is the connection between the concepts of similitude and transcendence in Ibn Arabi’s mysticism and the lighting design in the Sheikh Lotfollah Mosque?The research seeks to achieve the following objectives: Analyze the reflection of absolute light and its manifestations in the architecture of the Sheikh Lotfollah Mosque. Comparative analysis of Ibn Arabi’s mystical views with the mosque’s lighting design clarifies the relationship between the concepts of similitude and transcendence and the lighting design in the mosque’s architecture. This research also analyses how a spiritual and mystical experience is created through the mosque’s lighting design. Given the importance of Islamic architecture in Iranian culture and art, a detailed and thorough examination of symbolic elements in these buildings can lead to a deeper understanding of the relationship between art, architecture, and Islamic mysticism. The Sheikh Lotfollah Mosque, as a prominent example of Safavid architecture, is significant not only historically and artistically but also in terms of its mystical concepts. This study can contribute to elucidating how profound mystical concepts are reflected in Islamic architecture and provide a comparative analysis between these concepts and architectural design. Ultimately, the research will directly enrich the study of Islamic architecture and mysticism and identify lesser-explored aspects of these works.
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