زیباشناسی رنگ و نور در آثار ایران درودی با رویکرد ابن هیثم

نظریه ادراک زیبایی ابن هیثم، کیفیات و ساختار بصری لازم در اثر هنری را مورد توجه قرار می‌دهد، ضروری است جنبه‌های بالقوۀ نظریاتش در حوزه زیبایی ‌شناسی و ساختار بصری آثارش، مورد پژوهش قرار گرفته شود. ایران درودی با عناصر زیباشناسی به آثارش هویت ایرانی می‌دهد، او نور را هدف اصلی قرارداد تا به پندارهای فرهنگ ایران نزدیک شود و همچنین از نور برای القای بیان احساس خویش استفاده می‌کند 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 رنگ‌ها فقط در مجاورت و تاثیرگذاری بر یکدیگر است که کیفیت و رنگ خود را بروز می‌دهند. باتوجه‌به ماهیت ساختاری نقاشی که زیبایی‌شناسی 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 زیبایی‌شناسی نور و رنگ از منظر ابن هیثم را می‌توان با اصول مدرن زیبایی‌شناسی در آثار ایران درودی درک کرد، ابتدا ماهیت و ویژگی‌های آثار درودی را توصیف و تحلیل کرده و سپس آن آثار با آرای ابن هیثم را مورد تجزیه‌وتحلیل قرار می‌دهد. این مقاله که روش نظری آن، بر اساس نظریه‌پرداز فلسفه اسلامی ابن هیثم است. در این رویکرد زیباشناسی که به فرم اثر می‌پردازد ابن هیثم از زیباشناسی چنین تعریفی می‌کند: «زیبایی (حسن) را نه به عاملی بسیط، بلکه به تعامل پیچیده‌ای میان بیست‌ودو عامل تعریف کرد» و ابن هیثم تاکید زیادی به مفهوم دو مورد از 22 عواملی که نور و رنگ با یکدیگر نیروی انگیزش دارند، یعنی می‌توانند در نفس تاثیری ایجاد کنند که صورتی زیبا جلوه کند می‌پردازد. روش تحقیق از لحاظ هدف کاربردی و از نظر منظر روش انجام توصیفی تحلیلی است و اطلاعات نیز بر اساس مطالعات کتابخانه‌ای به‌دست‌آمده است.نتایج تحقیق بیانگر کارایی رویکرد ابن هیثم در حوزه زیبایی‌شناسی 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.