نوع مقاله : مقاله پژوهشی
1 دانشجوى دکترى تاریخ تطبیقى و تحلیلى هنر اسلامى، گروه مطالعات عالى هنر، دانشکده هنرهاى تجسمى، پردیس هنرهاى زیبا، دانشگاه تهران، ایران.
2 گروه مطالعات عالی هنر دانشکده هنرهای تجسمی دانشگاه تهران
عنوان مقاله [English]
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 field 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 influential 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 field 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 beneficial 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 significant 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 deficiencies 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.