كليدواژه :
سنت گرايي , نگارگري , سيد حسين نصر , محمود فرشچيان , نظريه «هنر متعالي»
چكيده لاتين :
The Traditionalists’ viewpoints on the philosophy and
wisdom of art are one of the richest and most prominent in
the discourse of “Traditionalism”, which has been widely
criticized in the contemporary era, and especially in the
fi eld of art, and has always been cited and referenced. Today,
faces such as René Guénon, Ananda Coomaraswamy,
Frithjof Schuon, Titus Burckhardt, and Martin Lings are
known as founders and commentators of Traditionalism.
Meanwhile, Nasr, as the Iranian representative of the Traditionalist
viewpoint, as well as the most famous academic
personality among the living Traditionalists, has deep Attitude
about Traditional Art, Religious Art and Sacred Art.
On the other hand, traditional Iranian painting as one of
the most infl uential Iranian-Islamic Arts, and in particular
the works of Kamal –o-din Behzad, Sultan Mohammad
and Reza Abbasi, have always been a favorite and the fi eld
of research by scholars, philosophers and international artists.
Meanwhile, The style and works of Mahmoud Farshchian,
as a standard example of this research, have emphasized
the fundamental, aesthetic and benefi cial use of the
original art of painting. In the contemporary era, in addition
to the revival of classical painting and the creation of
style and modern school, he has also had a signifi cant contribution
to the development and richness of traditional
and national arts. Farshchian has distinctive styles and outstanding
works that have never been taken from the Traditional
perspective. The problem of this research is to consider
and extract a comprehensive, new and intrinsic
theory about Farshchian’s works, while adapting and critically
analyzing Attitude of Nasr on art with the works of
Farshchian, and identifying the means of differentiating
and sharing these two components, which can comprehensively
represent Farshchian’s artistic system in the Iranian-
Islamic art system. The type of research, theoretical basis,
research method, comparative and analytical and information
gathering method, library documents. The data analysis
method has been quantitative and qualitative.
In this regard, the statistical community of this research
is composed of the technical and applied comprehensive
works by Mahmoud Farshchian. The technical works of
the artist, including the works of books and unpublished
works, that total over 538 works. Among them, the three
images of “Simorgh, Ghaf and Thirty Birds”, “The Great
Test” and “Ashura Evening” due to the special content and
visual capacities as standard examples of Traditional Art,
Religious Art and Sacred Art of Nasr Adaptation and critical
analysis. With regard to Nasr’s differentiation in art
with Farshchian’s works, the theory of “Transcendental
Art”, along with its cosmology and its foundations, has
been proposed by the author to address the critique and
defi ciencies of rival theory such as “Traditionalist Art” on
Farshchian’s works and, in general, the Iranian-Islamic art
system. It is also anticipated that in view of the extensibility
of this theory, in the case of the proof of Substantive
Theory (Farshchian’s works), it is to be found in two other
levels of theory, namely, the formal or intermediate theory
(Iranian-Islamic arts) and the Grand theory (Islam world
arts ) Will also be generalized.
