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ارتباط واقع‌گرایی در هنر نگارگری مکتب دوم تبریز و عرفان اسلامی | ||
| مبانی نظری هنرهای تجسمی | ||
| مقاله 5، دوره 3، شماره 2 - شماره پیاپی 6، اسفند 1397، صفحه 57-68 اصل مقاله (297.15 K) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/jtpva.2019.24605.1031 | ||
| نویسنده | ||
| ندا هوشمند مفرد* | ||
| دانشجو | ||
| چکیده | ||
| پژوهش حاضر، به منظور بررسی میزان تأثیر عرفان اسلامی بر واقع‌گرایی در هنر نگارگری دوران صفوی، انجام شده است. عرفان بر تجربه و معرفت حاصل از آن، تأکید دارد. از دید متصوفه، تصاویر لایه‌های معنایی متعدد دارند و تمرکز بر یک امر، کم‌کم مخاطب را به شناخت نفس آن، نایل می‌کند. از سویی دیگر، واقع‌گرایی در نگارگری عصر صفوی، به شکلی دیگر بروز می‌یابد: تحسین عالم خاکی، جلوه‌ای از عالم الهی است. تلاش برای به تصویر کشیدن لحظه‌ای گذرا، به مدد کلام و تصویر و بازنمایی اشیا با جزییاتی کامل، چنان که، به نظر می‌رسد، زنده‌اند. بنابراین، پرسش پژوهش این‌گونه مطرح می‌شود که: چه میزان واقع‌گرایی نقاشی صفوی –مکتب دوم تبریز- تحت تأثیر مبانی عرفان و تصوف رایج در دوره صفوی است؟ نتایج حاصل از پژوهش حاکی از آن است که، هنر به عنوان یکی از جلوه‌های تمدن اسلامی، برگرفته از تفکر حاکم بر تمدن و برهه زمانی خاص است. نگارگر صفوی هم متأثر از تفکرات رایج زمان خود و حتی، با پیروی از آن‌ها، به خلق آثار می‌پردازد. می‌توان این‌گونه بیان کرد که، واقع‌گرایی رواج یافته در نقاشی این دوره، برگرفته از اصول تصوف، تجربه‌گرایی و تأکید بر شناخت ماسوی برای شناخت حقیقت است. نگارگر دوره صفوی با توسل به واقع گرایی، درصدد رسیدن به زیبایی است که خداوند با کمال صفات موجودات در آن‌ها، قرار داده است. از آنجایی‌که، موضوع مورد مطالعه، پیرامون تغییرات نگارگری در دوره‌ای تاریخی است، با استناد به روش تاریخی و کتابخانه‌ای، اطلاعات جمع آوری شده است. | ||
| کلیدواژه‌ها | ||
| نگارگریِ مکتب دوم تبریز؛ عرفان اسلامی؛ واقع‌گرایی؛ تصوف | ||
| عنوان مقاله [English] | ||
| The Relationship between Realism in Tabriz II School of Miniature & the Islamic Mysticism | ||
| نویسندگان [English] | ||
| Neda Hooshmand | ||
| student | ||
| چکیده [English] | ||
| The relationship between realism in Tabriz second school of miniature and the Islamic mysticism Neda Hooshmand Mofrad, M.A., Graphic design, Alzahra University, n.hooshmandmofrad@gmail.com Abstract Sometimes, realism in Islamic art is linked to mysticism. Realism in painting, which is the result of focusing on affairs, It creates in mind that there is the truth behind affairs. In fact, this type of focus emphasizes some kind of experience, Mysticism is also important for experience and knowledge. On the other hand, mystics see beauty in everything because in their viewpoint, everything is in the best form it could have been and is thus, very close to truth. The closer something is to the truth, the more beautiful it is and the painter seeks to portray this beauty; So it tries that illustrations are close to reality. Assuming that the Safavid painter is influenced by the common thoughts of his time; so it can be argued that he most probably creates his art works on this basis and the prevailing realism in the paintings of this period is derived from the principles of Sufism. Empiricism and emphasis on knowing creatures lead to the truth of the world. The painter seeks to portray a beautiful illustration inspired by the perfection of divine creation. Realism is a characteristic of the Safavid paintings. The painter of this era makes efforts to take a specific moment and recreate it on the canvas with so complete details as if it is a live object. Since the artists of each epoch are usually influenced by the popular mindset of their time, Sufi and mystical beliefs and ideas, that flourished and spread during Safavid rule, left their impact on the art of this era more than ever before. This research investigates the effects of the Islamic mysticism on realism in Safavid miniature. Mysticism emphasizes on experience and the knowledge arising from it. Sufis claim that images are endowed with multiple semantic layers and that concentration on a single subject, leads the audience to the knowledge of its spirit. On the other hand, we observe the advent of a new form of realism in Safavid miniature: admiration of the terrestrial world as a manifestation of the divine world. It is an effort to illustrate a passing moment with the help of words and pictures, representing things in the minutest details to an extent that they seem to be alive. Since the subject under study revolves around changes in miniature within a historic period, data are collected through a desk study. Finally, the analysis is conducted through a descriptive-analytical method. The approach taken in the paper is a philosophical-mystical one. The process in which, as explained, Islamic art, as one of the manifestations of Islamic civilization, is derived from the dominant thinking of the existing culture and civilization and influenced by the prevalent philosophical doctrines. The results suggest that the works of Islamic art are created, inspired by the dominating thoughts in of a particular era. Following, and even under the influence of, his contemporary thoughts, the Safavid miniaturist produces work of art. Arguably, the realism prevalent in the era’s miniature emerges from the principles of mysticism, empiricism and emphasis on the knowledge of all other things than God in order to know the truth. Making use of realism, the Safavid miniaturist aims to reach the ultimate beauty God has endowed the existents with. The necessity of research in this area is determined by the fact that in most of the existing sources of Safavid art, it has been emphasized that over time, art and especially painting have been influenced by alien culture and the way of art painting has thus changed. This attitude is acceptable and the writer's goal is not to reject it. The intention is to address the other possibilities available to redirect the art of painting, and they should also be evaluated. Keywords: Tabriz II School of Miniature, Islamic Mysticism, Realism, Sufism. | ||
| کلیدواژه‌ها [English] | ||
| Tabriz II School of Miniature, Islamic Mysticism, Realism, Sufism | ||
| مراجع | ||
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