زیبایی شناسی فارابی در تحلیل بصری و مفهومی نگارگری ایران ازبک در قرن دهم (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
نگارگری ایران ازبک معروف به مکتب بخارا با حضور هنرمندانی چون کمال الدین بهزاد و محمود مذهب به اوج رسیده و بر مکاتب بعد از خود تأثیرگذار بوده است. شناخت بیشتر اندیشه های فارابی، فیلسوف اسلامی، در حوزه هنر و زیبایی رویکردی جدید از مفاهیم هنر دینی را بر ما خواهد گشود که بر اساس آن بتوان با نگاهی متفاوت به هنر و خصوصاً هنر نگارگری بازنگریست. این پژوهش برآن است تا با مطالعه آراء فارابی در حیطه هنر دینی و زیبایی شناسی، به بررسی این رویکرد در نگارگری ایران ازبک بپردازد. پرسش مطروح در پژوهش حاضر عبارت است از؛ رویکرد دینی نگارگری ایران ازبک بر مبنای آراء زیبایی شناسی فارابی چه ویژگی هایی دارد؟ در راستای پاسخ به این پرسش، اطلاعات از طریق منابع کتابخانه ای گردآوری و با روش توصیفی-تحلیلی مورد مطالعه و بررسی قرار گرفته است. جامعه آماری حاوی 9 نگاره از مکتب بخارا است که به-طور هدفمند و از بین نگاره های معتبر و دسترس انتخاب شد. نتایج حاصل حاکی از آن است که مطالعه آراء وی در نگاره های منتخب از مکتب بخارا نشان می دهد که هنرمندان این مکتب، با اتکا به هر سه نوع صور خیالی فارابی، سودمندی و ایجاد لذت مفید، اقناع ذهن مخاطب، همراهی نطق و خیال در شکل گیری آثار و حفظ کمال در رنگ و شکل توانسته اند به اصول زیبایی شناسی بر اساس رویکرد دینی فارابی دست یابند.Farabi's Aesthetics in the Visual and Conceptual Analysis of Iranian-Uzbek Painting in the 10th Century
The Iran-Uzbek miniature tradition known as the “Bukhara School” reached its zenith through the contributions of artists such as Kamāl al-Dīn Behzād and Maḥmūd Mudhahhib, subsequently influencing later schools of miniature painting. Behzād was among the painters who, during the rule of Moḥammad Shaybānī, relocated from Herat to Bukhara, where he lived until Shaybānī’s death in 916 AH; afterward, he moved to Tabriz. One can say that the continuity of Behzād’s works and those of his pupils, coupled with the local painting style of Bukhara, collectively gave rise to what became known as the Bukhara school of miniature painting. Initially inspired by the Herat school, the Bukhara school gradually evolved into an independent style of miniature art that later, through the migration of its artists, profoundly influenced Indian miniature painting and other subsequent periods. Two main tendencies can be identified in the painting of this era. The first is rooted in literature and epic poetry, as evidenced in the illustration of the Shāhnāmeh or the miniature tradition tied to Saʿdī’s Golestān , where the impact of the Herat school on Bukhara is apparent. Such works depict flowing streams, trees, meadows, palace façades, festive gatherings, as well as epic scenes like the Sīmorgh or the episode of Sīyāvash passing through fire. The second tendency behind the formation of the Bukhara school of miniature painting draws on Uzbek local legends and folktales, characterized by Uzbek-style clothing and distinctively bold and vivid color palettes. These miniatures include romantic scenes, depictions of public entertainments, and occasional references to war and hunting. Overall, they convey an atmosphere of calmness and composure. Art possesses inherent and essential components, one of the most crucial being beauty. Over time, the nature of art shifts in tandem with how an artist defines beauty. If an artist takes “jamāl” (beauty) as the foundation of their work, the resulting artwork will have a particular quality; if instead they take “kamāl” (perfection) as their guiding principle, their art will manifest in another way. Since birth, human beings have shown a propensity toward the beautiful—whether a landscape, a flower, a sound, or calligraphy—and thus derive pleasure from noting such examples while striving to create them. Throughout history, due to the significance of humanity’s aesthetic sense and inclination toward beauty, many questions have been raised concerning this subject. In the Islamic world, one of the most important definitions of beauty was provided by al-Fārābī. In his few but varied discussions, Fārābī addresses the concept of beauty and its boundaries. From the overall content of his remarks, one may infer that Fārābī regards beauty as a “secondary philosophical intelligible”—that is, a concept that is existential and objective—because he views beauty as something belonging to the entity or existence of a thing. Such notions gained considerable expression in art, especially in miniature painting. Gaining a deeper understanding of al-Fārābī’s ideas on art and beauty, as an Islamic philosopher, can open up a new avenue of conceptual frameworks for us—particularly in reexamining art and, more specifically, miniature painting. This research aims to explore such a perspective within the context of Iran-Uzbek miniature art by examining al-Fārābī’s views on art and aesthetics. Accordingly, the central question of this study is: What characteristics does Iran-Uzbek miniature painting possess based on al-Fārābī’s aesthetic views?To answer this question, information was gathered from library sources and analyzed using a descriptive-analytical method. The research sample consisted of nine miniatures from the Bukhara school, purposefully chosen from among recognized and accessible works.A study of al-Fārābī’s views in these selected works from the Bukhara school revealed that its artists, relying on all three types of imaginative forms—preserving the form of tangible entities, creatively manipulating and recombining forms, and imitating (muḥākāt) by means of sensory images—successfully deployed elements of imagination and reason in conceptualizing religious art. This not only yields beneficial pleasure and usefulness but also satisfies the audience intellectually, motivating them toward true happiness. Moreover, perfection in the unity of components—form and color—is evident in these miniatures, although such perfection is directed toward achieving a “secondary perfection,” given that, in Fārābī’s view, attributes of perfection ultimately belong to God. In each examined miniature, the artist employs one of Fārābī’s conceptualizations of imaginative forms in some manner. In most of these paintings, the artist incorporates content indicative of moral virtue and rationality, for instance, depicting a human figure with two wings akin to angels, suggesting a lofty status, possibly that of a divine messenger. The artist strategically arranges colors, elements of nature, light, and figures so as to maintain visual harmony and create aesthetic pleasure, while also conveying the moral dimension of the narrative, aiming at elevating intellect, transmitting emotion, and guiding the audience’s responses toward spiritual uplift. In shaping the setting, the artist blends architectural structures with natural features to more effectively impart a sense of place to the viewer.
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