صورت، بیان و معنا در نگارگری ایران برپایۀ دیدگاه‌های دینی و عرفانیِ تیتوس بورکهارت و سید‌حسین نصر

اندیشه و تفکر ناب دینی و عرفانی در ذهن هنرمندان مسلمان سبب شده در تمام آثار هنری اسلامی روح مشترکی پدیدار شود. شناخت ماهیت و هدف هنر اسلامی در سدۀ اخیر موردتوجه بسیاری از پژوهشگران و اندیشمندان قرارگرفته و پژوهش های آنان به طرح نظریات مختلفی دربارۀ فلسفه و حکمت هنر متعالی اسلامی منجر شده است. «تیتوس بورکهارت» و «سید حسین نصر» ازجمله اندیشمندانی هستند که با رویکردی سنت گرایانه و برپایۀ دیدگاه های دینی و عرفانی به تبیین چیستی، چرایی و چگونگی هنر اسلامی -معماری، هنرهای کاربردی و هنرهای تجسمی- پرداخته اند. پرسش این است: نگارگری اسلامی ایران برمبنای دیدگاه های اندیشمندان سنت گرایی چون تیتوس بورکهارت و سیدحسین نصر در چه ویژگی هایی با هنرهای اسلامی دیگر اشتراک دارد؟ در این مقاله، ویژگی های بصری و محتوایی نگارگری اسلامی ایران برپایۀ دیدگاه های دینی و عرفانی تیتوس بورکهارت و سیدحسین نصر دربارۀ هنر اسلامی تبیین شده و میزان همسانی نگارگری ایرانی در صورت، بیان و معنا با سایر هنرهای اسلامی مورد مطالعه قرار گرفته است. بر این اساس پس از گردآوری برخی از نظریات تیتوس بورکهارت و سیدحسین نصر دربارۀ هنر اسلامی و بررسی تعدادی از آثار نگارگری دوران اسلامی به شیوۀ اسنادی، داده های به دست آمده با روش توصیفی و مقایسه ای تدوین شده است؛ درنهایت تحلیل داده ها به روش استدلال استقرایی به انجام رسیده است. براساس یافته های پژوهش، عناصری مانند: فرم یا صورت، رنگ، فضاسازی، عدم بعدنمایی و بهره مندی از نوشتار (در قالب شعر) به نگارگری ایران، همانند سایر گونه های هنر و معماری ایران معنا و مفهوم ویژه ای بخشیده اند. ازسوی دیگر، صورت، بیان و معنا در نگارگری اسلامی ایران با آراء و دیدگاه های عرفانی-دینی تیتوس بورکهارت و سیدحسین نصر هم سو است و این آراء، تنها دربارۀ نگاره های غیرمذهبی و درباری صادق نیست.

Form, Expression, and Meaning in Persian Miniature Based on the Religious and Mystical Views of Titus Burckhardt and Seyyed Hossein Nasr

AbstractPure religious and mystical thoughts in the minds of Muslim artists have led to the emergence of a common spirit in all Islamic artworks. Understanding the nature and purpose of Islamic art in the last century has attracted the attention of many scholars and researchers and their studies have led to various theories about the philosophy and wisdom of transcendent Islamic art. Titus Burckhardt and Seyyed Hossein Nasr, including intellectuals who use a traditional approach based on religious and mystical views to explain what, why and how Islamic art architecture, applied arts and visual arts. The question is: Islamic miniature of Iran based on traditionalist thinkers such as Titus Burckhardt and Seyyed Hossein Nasr on what features are similar to other Islamic Arts? In this study, the visual and content characteristics of the Islamic miniature of Iran are explained based on the religious and mystical views of Titus Burckhardt and Seyyed Hossein Nasr and the degree of similarity of Iranian miniature in form, expression, and meaning with other Islamic arts has been studied. Accordingly, after collecting some of Titus Burckhardt’s and Seyyed Hossein Nasr’s theories on Islamic art and examining several Islamic era miniatures through surveying and documenting, the data obtained have been drafted in a descriptive and comparative method. Finally, data analysis was performed using inductive reasoning. Based on the findings of the research, elements such as form, color, specialization, nonrepresentation and use of writing (in the form of poetry) have given Iranian miniature, like other forms of Iranian art and architecture, special meaning. On the other hand, the form, expression, and meaning of Islamic miniature in Iran are in line with the mystical and religious views of Titus Burkhardt and Seyyed Hossein Nasr, and these views are not only true about nonreligious and court images. Keywords: Islamic Art, Burckhardt, Seyyed Hossein Nasr, Iranian miniature, Religious and Mystical Views.IntroductionPure religious and mystical thoughts in the minds of Muslim artists have led to the emergence of a common spirit in all Islamic artworks. Like most Islamic arts, Iranian miniature has been subject to the temporal and spatial requirements of each era and has passed developments. Titus Burckhardt and Seyyed Hussein Nasr are among the scholars whose indepth studies of nature, why and how of Islamic art have led to theories of Islamic art. In their works, they have described the characteristics of Islamic arts in a mystical and religious approach, and in the meantime, they have sometimes explained them in the visual arts, sometimes in the applied arts and sometimes in architecture.Research Objectives: The purpose of this paper is to first study and understand the characteristics of Islamic art from traditionalist thinkers (Titus Burckhardt and Seyyed Hossein Nasr), secondly to compare and analyze the features mentioned in Iranian miniature with other Islamic arts. And third, recognition of the consistency of miniature Iran in form, expression, and meaning to other Islamic arts.Question: The question is: Islamic miniature of Iran based on traditionalist thinkers such as Titus Burckhardt and Seyyed Hossein Nasr on what features are similar to other Islamic Arts?Research Methods: The research method is descriptiveanalytic and research data (images and miniature and taking notes) to the style library (documents) collected. Data obtained by descriptive statistics and comparisons have been drafted. Finally, data analysis using inductive reasoning in terms of the miniature of painting, as an extension of the total is made. On this basis, a number of the miniature have been studied and analyzed and the result has been generalized to the whole miniature in Iran.Identified Traces in this article, important points are explained in a separate heading, including Tradition and Traditionalism, the Relationship of Islamic Art with PreIslamic Art in Iran, Burckhardt and Nasr’s View of the Nature of Islamic Art, the Human Position in Islamic Art and Iranian Painting, Paint in Islamic Art and Islamic Painting in Iran, Poetry in Islamic Art and Iranian Painting, Balance between form, Expression, and meaning in Islamic Art and Iranian Painting, Spaceship in Islamic Art and Iranian Painting, Lack of Views on Islamic Painting in Iran. For example: In Burckhardt’s view, the characteristic of Islamic art is to be consistent with the spirit of Islam, and this compatibility is at least evident in its core manifestations, such as the architecture of sacred places. Burkhardt states: “Islamic art itself is the concept that comes from its name, without ambiguity” (Burkhardt, 1986: 16).Nasr also argues that the Islamic view of Islamic mysticism is “art for human” and since man is the caliph of God on earth and a central being at this level, it means that “art is for God” (Nasr, 2013: 291). According to Burckhardt: “Colors are the richness of the story’s inner illumination. Because they are confronted, they are blinding and in harmony with the harmony of the colors that we find in the true nature of the spectacle itself (“ Burkhardt, 1986: 88). According to Nasr: Every color has its allegory. As some mystics and poets have directly pointed out, such as the military sage, and every color has a connotation with one’s inner being and his soul, and its use in various aspects of life has a profound effect on the morale of the people (Nasr, 2004: 5).ConclusionAccording to traditionalist scholars such as Titus Burckhardt and Seyyed Hossein Nasr, elements such as form, color, specialization, and use of writing (in poetry form) have played an important role in Iranian art. Iranian miniature based on the mystical and religious beliefs of Islam does not merely portray the outward appearance of nature and, by combining tangible and intangible forms, goes beyond material nature.Colors have also helped to instill Islamic mystical and religious notions in their symbolic and semantic functions in Iranian miniature. Literature, poetry, and written works in the nomadic culture have also had a prominent place, as the word of the revelation of the Qur’an was a written miracle in the Muslim community. Literature, poetry, and written works in Islamic culture have also had an important place, as the word of the Qur’an’s revelation was a written miracle in the Muslim community. The importance of writing culture was that painting was at the service of verses, literary poetry.Thus, the form or form, color, spatiality and enjoyment of the text as illustrated by the views of Titus Burckhardt and Seyyed Hossein Nasr in the IranianIslamic miniatures also have more or less similar features. It should be emphasized that the above features are common to Islamic miniatures and Islamic art, and this cannot be generalized to nonreligious and courtesy examples.