از بازنمايي تقليدِ آفريده تا تقليدِ آفرينش در هنر اسلامي از منظر استاد جوادي آملي

From Representation of Imitation of Created to Imitation of Creation in Islamic Art from Professor Javadi Amoli Point of View

هنر يكي از اركان مهم فرهنگ و تمدن هر جامعه‌اي و عرصه تجلّي و روايت چيزي غير خويش و خصيصه‌اي نفساني است كه منجر به بروز كارهاي شگفت انگيز و زيبا از سوي هنرمند مي‌گردد. در اين ميان هنر اسلامي نيز داراي جايگاه خطيري در تمدن اسلامي است و با نگاهي از دريچه فلسفه، هنري استوار بر قوه خيال و عالم مثال است. عالم مثالي كه از ثمرات ذو مراتب بودن هستي و تشكيك وجود است. اكنون سؤال اصلي پژوهش حاضر اين است كه در نگاه استاد جوادي آملي، غايت هنر اسلامي چيست؟ آيا غايت هنر اسلامي، بازنمايي واقعيت تازه‌اي است كه به وسيله قوه خيال در نفسِ هنرمند ايجاد و انشاء مي‌شود يا هدف، بازنمايي حقيقتي متعالي و فرا‌‌ طبيعي است كه توسط قوه خيال در نفس هنرمند اظهار مي‌گردد؟ به عبارت ديگر در هنر اسلامي خيالِ هنرمند، فعّال است يا منفعل؟ در مقاله حاضر با روش توصيفي-تحليلي اين نتيجه حاصل شد، بر مبناي حركت جوهري نفس، هنر اسلامي كه ثمره عملكرد قوه خيال است، در ابتدا ثمره و حاصلِ انفعالِ خيال و مشاهده صور خيالي توسط نفس در عالم مثال متصل يا مثال منفصل است و هنرمند در اين مرحله به تقليدِ آفريده مشغول است و هنر وي بازنمايي و تجسيم تقليد آفريده در عالم طبيعت و خارج است، ولي در نهايت حاصل خلاقيت و فعاليت نفس و صدور صور خيالي و مثالي از سوي نفس است كه در اين مرحله نفسِ هنرمند به تقليدِ آفرينش مي‌پردازد و هنر وي بازنمايي تقليد آفرينش در عالم خارج و طبيعت است.

Art is one of the important pillars of culture and civilization of any society and the arena of manifestation and narration of something other than itself and a psychical feature that leads to amazing and beautiful works by the artist. Meanwhile, Islamic art also has a significant place in Islamic civilization and looking at it through the lens of artistic philosophy, it is based on the representative faculty and the world of ideas. World of ideas that is consequence of analogical gradation of existence and systematic ambiguity of existence in the philosophical system of transcendent theosophy. Now the main question of the present study is what is the end and goal of Islamic art in the view of Professor Javadi Amoli. Is the end of Islamic art to represent a new reality that is created and composed by the representative faculty of the artist or the goal is to represent the transcendent and supernatural truth that is expressed by the representative faculty of the artist. In other words, in Islamic art, the artist's fiction is active or passive? In present article, this result was obtained by a descriptive-analytical method, in the view point of Professor Javadi Amoli and based on substantial motion soul, Islamic art-that is consequence of representative faculty function- at first, is the result of imagination passivity and observe the imaginative forms by the soul in the continuous realm of archetypes or discrete realm of archetypes and the artist is engaged in imitation of created at this stage and his art is to representation and embodiment of imitation created in the world of nature and objective, but in the end, the result of creativity and soul activity and emanation of imaginative forms and imaginal is from soul that at this stage, the artist soul imitates creation and his art is to represent of imitation of creation in the world of nature and objective.