تطبيق و تحليل آراي سيد حسين نصر در باب هنر با آثار محمود فرشچيان: نظريه «هنر متعالي»

Adapting and Analyzing Attitude of Seyyed Hossein Nasr on Art with the Mahmoud Farshchian Works: The Theory of “Transcendental Art”

نظرگاه سنت گرايي و به ويژه آراي نصر در باب هنر، يكي از برجسته ترين رويكردها براي خوانش آثار هنري به ويژه نگارگري سنتي در دوره معاصر به شمار مي آيد. از سوي ديگر، فرشچيان داراي سبك مشخص و آثار برجسته اي است كه هيچ گاه از چشم انداز سنتي كاويده نشده اند. مسئله اين پژوهش، احصاي نظريه اي جامع درباره آثار فرشچيان در ضمن تطبيق و تحليل آراي نصر در باب هنر با آثار فرشچيان و مشخص نمودن وجوه افتراق و اشتراك آنها بوده است. در اين ميان نگاره هاي«سيمرغ، قاف و سي مرغ»، «آزمون بزرگ» و «عصر عاشورا» به دليل ظرفيت هاي ويژه بصري و محتوايي، به عنوان نمونه هاي معيار با هنر سنتي، ديني و مقدس نصر مورد تطبيق و تحليل قرار گرفته اند. نوع اين پژوهش؛ بنياديِ نظري، روش پژوهش؛ تطبيقي و تحليلي و شيوه گردآوري اطلاعات، اسناد كتابخانه اي بوده است. با توجه به وجوه اشتراك و افتراق آراي نصر در باب هنر با آثار فرشچيان، نظريه «هنر متعالي» به همراه جهان شناسي و مباني آن مطرح شده است كه بتواند نارسايي هاي موجودِ نظريه «هنر سنت گرا» را در باب آثار فرشچيان و به طور كلي منظومه هنر ايراني- اسلامي بر طرف نمايد.

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.