چکیده:
جستوجو و واکاوی متون کلاسیک عرفان و حکمت اسلامی با هدف استخراج مبانی و مفاهیمی که میتوانند با تلقّیِ امروزی از هنر و زیبایی واجد اشتراکات و قرابتهایی باشند، یکی از اصلیترین و اساسیترین اهداف مطالعات نظری هنر اسلامی است. بر همین اساس، این مقاله در صدد تحقیق در مفهوم فنّ و صناعت از منظر شیخ اکبر عرفان اسلامی محیالدین ابنعربی، یکی از سرآمدانِ عرفان نظری در تمدن اسلامی با استناد به دانشنامۀ سترگ اندیشۀ او یعنی کتاب فتوحات مکیّه از یک سو و تبیین معنا و مفهوم «میزان» بهعنوان پاسخی در برابر پرسش از چیستی و چگونگی شکلگیری صناعات محسوس (آثار هنری)، از سوی دیگر است. پرسش اصلی پژوهش، مفهومشناسی فنّ و صناعت و نیز تبیین اصلِ «میزان» با استناد به آراء حکمی و عرفانی ابن عربی است. این پژوهش بر این فرضیه استوار است که ابن عربی در پاسخ به چیستی و یا چگونگیِ شکلگیری و خلق آثار هنری، ایدۀ «میزان» را پیش مینهد. هدف از نگارش این مقاله نه ارائۀ الگویی نظری برای خلق آثار هنری در جهانِ معاصر اسلامی، بلکه کنکاشی در سرگذشت تأملات نظری پیرامون هنر و زیبایی در گسترۀ تاریخ عرفان و حکمت اسلامی است. نتایج حاصل از تحقیق نشان میدهند ابن عربی نهتنها نسبت به معنا و مفهوم «فنّ» و «صناعت» اندیشهای خنثی نداشته و با مفاهیم مذکور در زمان خود آشنا بوده است، بلکه در بعد نظری، صناعات محسوس و یا آثار هنری را در یکی از مهمترین آثار خود مورد مداقه قرار داده و به ساحت نظری هنر و زیبایی ورودی متأمّلانه و جدی داشته است. از سوی دیگر، تأملات نظری وی در ساحت هنر و زیبایی نشاندهندۀ آن است که این دو مفهوم، در سیطرۀ مطلق مکتب «وحدت وجودی» ابن عربی قرار داشتهاند. این مقاله با استفاده از روش تحلیلی – تفسیری و با استناد به دادههایی که با اتکاء به منابع کتابخانهای گردآوری شدهاند، به انجام رسیده است.
Searching and analyzing the classical texts of Islamic mysticism and wisdom with the aim of extracting foundations and concepts that can have commonalities and affinities with the modern perception of art and beauty is one of the main and fundamental goals of theoretical studies of Islamic art. Based on this, this article aims to research the concept of Al-Fann (Art) and Alsinaeat (Craft) from the perspective of Ibn ʿArabi, one of the leaders of theoretical mysticism in Islamic civilization, referring to his great encyclopedia of thought, the book Al-Futuhat al-Makkiyya (The Meccan Revelations), on the one hand, and explaining the meaning and concept. “Al-Mizan” as an answer to the question of what and how tangible artworks are formed, on the other hand. The main question of the research is the conceptualization of art and industry, as well as the explanation of the principle of “Al-Mizan” by referring Ibn ʿArabi's ruling and mystical opinions. This research is based on the hypothesis that Ibn ʿArabi proposes the idea of “Al-Mizan” in response to what or how art works are formed and created. The purpose of writing this article is not to present a theoretical model for the creation of works of art in the contemporary Islamic world, but to delve into the history of theoretical reflections on art and beauty in the history of Islamic mysticism and wisdom. The results of the research show that Ibn ʿArabi not only did not have a neutral thought about the meaning and concept of “Art” and “Industry” and was familiar with the mentioned concepts in his time, but also in the theoretical dimension, works of art in one of he has highlighted his most important works and has made a thoughtful and serious entry into the theoretical field of art and beauty. On the other hand, his theoretical reflections in the field of art and beauty show that these two concepts were under the absolute control of Ibn ʿArabi's “Existential Unity” school. Since Islamic art has a history of more than thirteen centuries and despite the production and presentation of works that testify to the creative imagination and knowledge and skill of Muslim artists, it still faces serious challenges in the theoretical dimension. The challenges that caused the existence of Islamic art to be denied in some cases and its nature to be doubted in other cases. For this reason, the need to conduct research of this kind should be in the focus of attention of researchers of theoretical issues of Islamic art. Based on this, drawing the view of Muslim sages and mystics towards what are known as works of art today can be an acceptable point of departure. For this purpose, it is inevitable to refer to the original Islamic and philosophical sources in Islamic civilization, especially the works of Muslim sages, with the aim of extracting their views on works of art, as well as their theoretical reflections on art. This essay has chosen the book Al-Futuhat al-Makkiyya (The Meccan Revelations) by the famous Andalusian mystic of the 6th and 7th Hijri centuries, Ibn ʿArabi, for the research of his familiarity with works of art in the first step, and then a reflection on the theoretical foundations of art and craft in Islamic civilization. This article has been done using the analytical-interpretive method and based on the data collected by relying on library sources.