Document Type : Biannual Journal
Authors
1 PhD in Art Research
2 Assistant Professor of Department of Crafts, Faculty of Art, Alzahra University(Corresponding Author)
3 Narges Nazarnejad: Associate Professor of Department of Philosophy and Islamic Wisdom, Faculty of Theology and Islamic Studies, Alzahra University
Abstract
Introduction
Traditional Persian arts, with all their aesthetic and semantic aspects, are derived from the Iranian culture, thought, and beliefs and are eminent manifestations of the notion of tradition for Iranians. Traditional designs with symbolic motifs and patterns constitute the foundation of traditional arts. Such arts are mainly characterized by the artist’s reluctance to imitate the nature and his or her focus on abstraction and expression of symbolic concepts. If traditional motifs are measured and appraised in terms of the right criteria and principles, it turns out that they are not only non-repetitive but also fully ingenious and creative, and display themselves in the design through a refinement made in the artist’s mind. Such intellectual analyses prevailed in line with rationalistic theories that relied on reasoning and arguments since fourth century AH (tenth century CE) along with the prevalence of the rationalistic Peripatetic philosophy and then Avicenna’s theories of psychological faculties, particularly the human-specific rational or intellectual faculty. For Avicenna, the human intellect has degrees and it has the potential to move toward perfection. One comes to obtain the ability to connect to the Active Intellect (al-ʿaql al-faʿʿāl) or the Bestower of Forms (wāhib al-ṣuwar) by developing one’s intellect, and then enjoys its grace and emanation, in virtue of which one knows and understands the world and finds the ability for reasoning and acquisition of knowledge. Avicenna believes that imagination is directed at the intellect or reason, and the artist’s perceptions are of the same kind as intellectual intuition.
Avicenna enumerates certain principles for the beauty of a work of art, suggesting that its beauty results from reason or intellect. The principles include good moderation, good synthesis (proportions), and good order. On the other hand, the method of drawing traditional motifs were transmitted to us through generations. The superficial aspects of traditional motifs are addressed in Dr. Ali Hasouri’s Foundations of traditional design, Dr. Abolghasem Dadvar’s Theoretical foundations of traditional arts (a collection of the views and theories of Muslim intellectuals about art and aesthetics from the perspective of Islamic philosophy and mysticism), and Dr. Yaghoub Azhand’s Seven decorative principles of Persian art (all in Persian). However, they fail to formulate the rules of formation in the method of drawing the motifs and the scientific criteria they involve. Perhaps they have taken these for granted, while an analysis and formulation of the roots and rational dimensions of the principles and rules of the traditional design can lead to creative motifs. Accordingly, preservation, revival, development, promotion, innovation, and a new discourse in the domain of traditional designs require a scientific and artistic underpinning, saturated with philosophical and intellectual grounds.
Method of Research
The present research draws on the method of theory evaluation and an assessment of how Avicenna’s aesthetic principles corresponds to the rules of drawing the traditional motifs to present a theory about the rationalistic design of the rational traditional Persian vegetal motifs as the most fundamental and widespread motifs. The data were collected through a library-documentary method, and finally the findings are presented through a descriptive-analytic method.
Discussion and Results
The method of drawing traditional vegetal motifs alone or alongside each other follows certain principles and rules, each of which is separately matched with Avicenna’s aesthetic principles, including:
With respect to their aversion of nature, their abstraction, simplification, symbolism, and centripetalism (manifestation of unity and multiplicity), the motifs are expressive and have “good order”; that is, their parts are proportionate to, and harmonious with, the whole.
The motion and dynamic of the motifs, their generativity and reproduction in varieties of frames and directions, the balance, proposition, and symmetry in design, the existence of a geometrical order among the parts, the existence of rhythm and harmony between the motifs and the design, variety in composition and frame, collation and replacement relations between motifs, and the correspondence with varieties of backgrounds, frames, and materials in the performance context are all in line with Avicenna’s definition of “good moderation” and order.
Line value (intensity and mildness), which gives an impression of perspective in the two-dimensional space, equivalence of the positive and negative spaces (over and cover spaces), and the existence of the element of timelessness and placelessness in traditional designs indicate the “good synthesis” as well as the order and coherence in the design.
For Avicenna, the principles of aesthetics (good synthesis, order, and moderation) are formulated based on knowledge, which is in turn a consequence of reason or intellect. Since the Avicenna’s aesthetic rules of traditional motifs are also in conformity with mathematical and geometrical proportions, it can be said to follow scientific criteria.
Conclusion
Our study shows that, first, the existence of order, coherence, and harmony between motifs as well as the proportion and balance within the design come from scientific criteria, which are induced by the intellectual faculty. Accordingly, once connected to the Active Intellect, the artist obtains an intuition, and after the stage of the imaginative faculty, he or she can reason by means of the intellectual faculty. Since the contribution and function of the imaginative and intellectual faculties vary at each stage of creating the design, the artist begins with senses, and then reaches the stage of imagination and abstraction until he or she attains the degree of intellection and reasoning to the point of innovation and invention in the field of art, particularly in drawing traditional vegetal motifs. This sort of intuition, which Avicenna calls “intellectual intuition,” as well as the match between the rules of the traditional design and Avicenna’s aesthetic principles, indicate the rationalistic character of the course of traditional motifs and the predominance of the intellectual faculty in the creation of innovative motifs.
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