مطالعه تطبيقي ديدگاه ملاصدرا به مثابه متفكر اسلامي با نظريه هاي رايج در رابطه با مدل هاي تجربه زيباشناختي

فرايند تجربه زيباشناختي و مدل‌هاي طراحي شده در رابطه با اين فرايند از مباحث مهم در حيطه آموزش تجربه زيباشناختي است. مدل‌هاي بسياري بر مبناي انديشه هاي فلسفي و مشاهده رفتار مخاطبان طراحي شده و در جهت ارتقا فكري و انديشه اي مخاطب پايه گذاري شده است. در اين ميان فيلسوفان اسلامي اگر چه به طور صريح به ادراك زيباشناسي و تجربه زيباشناختي اشاره نداشته‌اند، اما در ميان مباحث و اصول انديشه ايشان مي‌توان به مباني و اصول ادراك زيباشناسي دست يافت. ملاصدرا از جمله فيلسوفاني است كه در نظام معرفتي خود به نوعي به اين مطلب مي‌پردازد. پرسش بنيادين اينكه آيا مي‌توان با در نظر گرفتن اصول و مباني فكري ملاصدرا چون مراتب ادراك، حركت جوهري، وجود ذهني، عشق و زيبايي و اتحاد عالم و معلوم به تبيين مدلي در راستاي تجربه زيباشناختي رسيد. هدف اين تحقيق بررسي فرايند تجربه زيباشناختي و درك اثر هنري از ديدگاه نظريه‌پردازان اين حوزه است و همچنين دستيابي به مدل تجربه زيباشناختي كه از مباني انديشه اي ملاصدرا اتخاذ شده باشد. به همين منظور با روش تحليل- استنباطي در گام نخست به تجزيه و تحليل اجزا مدل‌هاي زيباشناختي پرداخته و با استفاده از مباني و اصول انديشه اي ملاصدرا فرايند تجربه زيباشناختي و عناصر آن را چون ادراك حسي، توجه و آگاهي، مشاهده مكرر،تذكر و تفكر،تخيل و خلق دوباره و اتحاد را استنباط نموده و با مدل‌هاي ديگر تطبيق و مقايسه كرده است. اين اصول در بعضي از موارد چون مشاهده مكرر، تذكر و تفكر با مدل‌هاي ديگر وجه اشتراك دارد اما در بعضي از موارد چون تخيل و خلق دوباره داراي تفاوت‌هايي است.

Abstract Artworks are treated as important because they are sources of aesthetic experiences. These experiences attract audiences. The concept that all experience is aesthetic experience is based on the perspective that all experience is perception. Aesthetic experience is an artistic response. A response that requires the understanding of aesthetics features and contemplating the artwork’s form with and its ultimate purpose. One hand aesthetic experience is a pleasurable feeling towards a beautiful object, and on the other hand, is beyond a feeling and it brings along assessment and judgment; we experience the art piece in order to understand its values. But, through what stages does the audience gain this experience? The relation between the audience and a beautiful object or an artwork that has impressed them is the total origin of aesthetics. The constituent elements of aesthetics experience can be mentioned as, sensory perception, emotions, understanding, imagination and exploration. These models are a sub-category of theories of developmental psychology. One of the primary contexts of developmental psychology is its cognitive contexts, which studies the changes regarding intellectual abilities including attention, perception and memory, reasoning, creativity and imagination. Aesthetics Development theories are also in line with individual ability for thinking followed by promoting the understanding of aesthetics. Those who have worked in this field and their works have been discussed in the present study are Parsons, Mihaly Csikszentmihalyi, Rick Robinson and David Perkins. As yet, in our country, no aesthetics experience model has been conducted that would be according to the Islamic philosophers’ theology that would be originated from Islamic culture, doctrine and theology. On this basis, the present study seeks to design a aesthetics experience model based on the theology of Mula Sadra as an Islamic mastermind. The fundamental question is that can an aesthetics experience model be designed and explained based on Mula Sadra’s theological principles? These principles can be mentioned as the following: 1- Perception hierarchy: perception is one of the most prominent and most important act of the human soul. Mula Sadra believes that perception is accomplished not through the soul’s reaction, but yet through the scientific creativity and imagination of the soul within the sphere of perception and imagination and its promotion and sublimity within the domain of reason. Thus, perception leads to the soul’s evolution through the three stages of sensation, imagination and intellection. 2- Substantial motion: in Mula Sadra’s opinion, motion means becoming and the soul’s motion is exiting potentiality to actuality. Also, imperative motion is joining strength from weakness, in other words imperative motion is intense. The human soul pursuits perfection and is ascending, without its constant form changing, the soul finds excellence through its substantial motion in different stages of the world. In fact sublimation in its levels is the same as the soul’s evolution motion stages according to the substantial motion principle. Meaning that first the soul is a sensory perception and is promoted to imagination perception through sensory perception reserves and according to the substantial motion and after that it is ready to enter intellectual perception. 3- Love and beauty: love in Mula Sadra’s opinion starts with an image and ends with an image. The initial image is when the lover perceives the beloved and the ending image is artistic image that is the result of satisfaction and exemplification. Exemplification means portrait painting in aesthetics of imagination and this creative imagination is exemplification. Because from Mulla Sadra’s viewpoint, imagination is not a passive power, yet it is innovative and creative. 4- The union of known and unknown: based on this principle of Mulla Sadra’s epistemic principles, when an individual perceives something, the knowledge that has been created from perceiving the object becomes unified with the individual’s cognition. From his viewpoint, the soul is incomplete at first and through knowledge it is actualised and perfected and with whatever form that it becomes unified, it becomes that form and the meaning of the union of known and unknown is also that an incomplete presence is perfected. Based on principles that have been derived from the epistemological foundations of Mulla Sadra, it can be concluded that aesthetics experience is a renewable process and based on the substantial motion principle, mankind is always growing and the soul is in the path of completion and every moment with any phenomena that mankind is faced, a new creation occurs for that person. Aesthetics experience, as like the epistemology of this world, it is the epistemology of a world that opens a window facing a new artwork towards its audience. When the audience start understanding the world with their senses, it is at first through their sensory perception and then their emotions go after the artwork; these senses and emotions don’t bring information to our perception without considering the attention and awareness element. This awareness and attention emerges with repeating observation and in this case, the art piece is memorized that is called presence of mind that is a shadow of knowledge and through noting and thinking in regards to the obtained forms from the artwork and from what was previously saved in the audience’s mind, with aid of imagination, the audience combines and remodels forms. During the sensory perception and imagination and intellectual perception stage, the art piece becomes united with the audience’s existence and spirit. In some stages such as sensory perception, noting and thinking, Mulla Sadra’s aesthetics experience process is similar to other aesthetics experience models. However, elements such as imagination and recreation, attention and awareness, and union are elements that either only a few models have taken them into consideration or have not been considered at all. The ongoingness of aesthetics experience without the physical presence of the object is also another difference of Mulla Sadra’s model and previous models. Keywords: aesthetics experience model, perception, substantial motion, identity of the knower and the known, Mulla Sadra