زيبايي، تجلي فضايي، انگاره زيبايي در جهان بيني ايران باستان و اسلام

Beauty, Spatial Manifestation, Aesthetic Model Aesthetics in Language, Ancient Iranian Worldview and Islam

بازشناسي انگاره زيبايي از نگرشي حكايت دارد كه بر پشتوانه هاي فكري منبعث از ارزش هاي فرهنگي و بر شناسايي مضامين پايداري كه سازنده كهن الگوهاست تاكيد مي نمايد. نگرشي كه فراورده هايِ معماريِ متاثر از آن را، واجد توانمندي هاي لازم در پاسخگويي به نيازهاي روحي آدمي در مواجهه با محيط مي سازد. رضايتي حاصل انطباق پشتوانه هاي فرهنگي (مقولات ذهني) و محيط ساخته شده(عينيت موجود). از اين رو نحوه بروز زيبايي در معماري ايراني، مقوله اي است قابل مطالعه زيرا در صورت هماوايي با پشتوانه هاي ذهني ايراني از زيبايي و فضا، مي تواند موجبات حس انبساط خاطر از اين مواجهه به همراه داشته باشد. در اين پژوهش تنها بر پشتوانه هاي ذهني (با اتكا بر يافته هاي موكد در جهان بيني و فرهنگ) تمركز شده است. آنچه كه در هر دو عرصه مورد تاكيد باشد مي تواند پرده از راز توانمندي مصاديق معماري در پاسخ به نياز زيبايي بردارد.

Beauty and its manifestation in Architecture is a subject under the influence of culture, therefore; recognition of the consideration of aesthetic model indicates a viewpoint that emphasizes the perceptions derived from the cultural values, and the identification of the long-lasting contents which forms these archetypes. This is the very consideration which enables the subsequent architectural products to meet the psychological and sentimental requirements of man in facing the environment and living spaces; a satisfaction emerged from cultural conformity (as subjective issues) with built environment (as an existing objectivity). Thus, the way in which aestheticism is represented in Iranian Architecture is another consideration which, in the case of conformity with the cultural values and Iranian subjective backgrounds of space and aestheticism, can cause spiritual pleasure through this compatibility which is a quality varnished, enriched and continued in history. In this part of the study, the major attempt will be devoted to the survey of the subjective backgrounds, (resorting to emphatic inferences in worldview and literature). These are the inferences derived from the study of the language, literature and worldviews dominant in this country from ancient Iran up to Islamic era and attempt to demystify the mystery of the similar nature of the Iranian architectural instances in inspiring aesthetic sensibility in the observer or in other words to depict Iranian aestheticism. What accented in these two aspects –culture (the subject) and environment (the object)-can unravel the secret of the potentiality of Iranian architectural instances in fulfilling aesthetic requirements. The present article assumes that the secret of the potentiality of Iranian architectural instances lies in inspiring the aesthetic sensibility and creating borderline-hybrid spaces. These spaces are the by product of the interrelationship between architecture and nature, and are considered as the spatial manifestation of aesthetic model. by having recourse to tangible beauties (continuation of garden space and repetition of garden elements) on the one hand and imaginary beauties (employing abstract elements in similes of the sky and garden etc.) on the other hand they have the potentiality to evoke a sense of celestial world and threshold of heaven and thus to be a symbol of the visionary world that through the manifestation of divine beauties can display imaginary beauty by means of its minor images. This is the beauty that provides a place in signifying process to engender bliss and delight. A review of ancient Iran’s and islam’s culture and worldview could reveal the principles affecting the creation of beauty and the interrelation of beauty, light, lightness and water and represent the consequent aesthetic criterion. This is the worldview that indicates beauty and its creating potentiality. In course of investigating Persian language and literature also, the interrelation established between beauty and the porch (as term/ basis space) clarifies the highest point of spatial perception of beauty and its subsequent meanings and expectations. A space in which “Eyvan” has a basic term-space function in expressing its architectural characteristics and the recognition of its numerous spatial cases in Iranian architecture can be discussed more in another study.