تحلیل ارتباط میان رویکرد بی ‌هنری در معماری سنتی ایران و کاربرد واژه فقیر در اشعار عرفانی

هنرهای سنتی ایران در تجلی ‌های مختلف، به مضامین مشترکی اشاره دارند و بامطالعه مباحث حِکمی مربوطه، وحدت فکری بانیان این آثار و شکل ‌گیری این هنرها در بستر عرفان محرز می‌گردد. با بررسی هنرهای سنتی ایران، مشاهده می‌گردد این آثار یا بدون ذکر نام هنرمند و یا اشاره به نام همراه با تخلص فقیر است؛ لذا این سوال مطرح می‌گردد که آیا ارتباطی با به‌کارگیری واژه «فقیر» از سمت معمار ابنیه سنتی ایران و مقام فقر در وادی عرفان وجود دارد؟ باتوجه‌به تاثیرگذاری مضامین عرفانی بر نحوه خلق اثر هنر سنتی به نظر می‌رسد وجه تسمیه نام معمار به همراه واژه فقیر اشارتی رمزگونه به احوال عرفانی وی داشته است. هدف از انجام این پژوهش که از نوع کیفی و با رویکرد استقرایی است، معناشناسی لفظ «فقیر» در کتیبه‌های بناهای سنتی ایران و بررسی احتمال ارتباط آن با عوالم عرفانی است. در پژوهش حاضر با روش تحلیل محتوای کیفی و کدگذاری متون، شاخص‌های تحلیل استخراج گردیده و به روش تفسیر نقلی، شاخص‌های به‌دست‌آمده توسط اشعار عرفانی، اعتبارسنجی گردید. سپس تحلیل لفظ فقیر در کتیبه‌های ابنیه معماری با استدلال عقلی صورت گرفت. بر طبق نتایج، تخلص نام معمار با واژه فقیر در کتیبه‌های ابنیه سنتی به مقام فقر در عالم عرفانی مرتبط بوده و هنرمندان عالم سنت (در مرتبه استادی) عارفانی بودند که به مقام شهود غیب نائل آمده و به ملاقات عارفانه رسیده‌اند. در نتیجه این سلوک معنوی، معمارِ عارف محصول معماری خویش را محملی برای تذکار و تفکر مخاطب نموده و در صدد نمایان ساختن عالمی وَرای حس است.

analysis of the correlation between the artless approach in traditional iranian architecture and the use of the word poor in mystical poems

introduction: iranian traditional arts refer to some common concepts in different representational forms rooting from the thought foundations of the creators of those arts. an analysis of pertinent philosophical topics reveals a cohesive intellectual framework among the creators of these works, demonstrating how these arts developed within a mystical context. the surviving futuwat manuscripts from this era serve as evidence for this interconnectedness. in professional craft systems, apprentices first learned self-purification practices and meditation from their masters before learning their respective trades; this principle extended to architecture as well. notably, when exploring traditional iranian arts, one finds that many works lack explicit attribution or are identified by names accompanied by the pseudonym faqir, which translates to the poor. this phenomenon ties into discussions surrounding artlessness. in both traditional art and architecture, artistic creation was not solely reliant on an artist's ingenuity or creativity; instead, artists viewed themselves as conduits for divine inspiration and embodiments of profound narratives from metaphysical realms. consequently, they often labeled themselves as artless during their creative processes. the impact of mystical themes on artistic production suggests that architects' use of faqir may symbolize their spiritual conditions; references to this term within building inscriptions resonate with concepts related to the state of poverty in mystical traditions alongside notions tied to lack of artistry within discussions about traditional art.methodology: therefore, a question arises here: is there any relationship between the term poor used by architects of iranian traditional buildings and the position of poverty in mysticism? the purpose of this qualitative study with an inductive approach is terminology of the term “poor” used in inscriptions of iranian traditional monuments examining its possible relationship with the mystical worlds. additionally, it explores how these spiritual experiences manifest in architectural forms.. through qualitative content analysis and textual coding, key analytical indicators have been identified; furthermore, by considering intellectual unity among traditional artists' discourses, interpretations from poetic art have been consulted to clarify and contextualize architects' spiritual journeys while examining the importance attributed to poverty within these literary sources.then the indicators derived from the mystic poems are validated based on the narrative interpretation. the term poor used in the inscriptions of architectural monuments was then analyzed based on rational reasoning.results: traditional architect (in the position of master) after the unseen intuition, has a desire to meet again and to connect with his inner universe, and in his art, which is the memory of that meeting and the symbolic expression of those transcendental conditions, in the direction of the methodology of this the path for the audience and the architectural recreation of that visit is revealed.conclusion: according to the results, the surname of the architect indicating the term poor in the inscriptions found in traditional monuments is related to the position of poverty in the mystical world, and artists of the traditional world (masters) were mystics who reached the status of unseen witnesses and could see the mystical world. with such spiritual conduct, the mystic architect made its architectural work a field for contemplation and reflection revealing a world beyond the terrestrial senses.