تصوف و عرفان در مقام ویژگی گفتمانی رساله های خوشنویسی سده های هشتم تا یازدهم هجری (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
تحولات تاریخی خوشنویسی اسلامی را می توان با شناخت گفتمان های مختلف حاکم بر آن در ادوار مختلف بازخوانی کرد. هدف این پژوهش نیز بازشناخت یکی از گفتمان های تاریخ خوشنویسی، یعنی گفتمان صوفیانه و تحلیل ساز و کارهای زمینه ای و رویه های تحمیل انگاره های عرفانی توسط این گفتمان بر رساله های خوشنویسی است. گفتمانی که به مرور بر اثر قدرت یافتن و دامنه نفوذ تصوف، در حدود سده های هشتم تا یازدهم هجری غالب گشت و آثار انگاره های عرفانی تحمیلی آن را در اقسام جریانات فکری و مشاغل و هنرهای این دوره می توان مشاهده کرد. این گفتمان همچنین سبب به وجود آمدن ویژگی های مشترک در متون و رساله های مربوط به هنر خوشنویسی گشت. بنابراین در این پژوهش با اتخاذ رویکرد تاریخی- تفسیری و بهره گیری از روش تحلیل گفتمان، به تعیین مفصل بندی ها و بازشناخت ویژگی های صوفیانه در رساله های خوشنویسی سده های هشتم تا یازدهم هجری پرداخته شده است. نتایج این پژوهش نشان می دهد که تلقی عرفانی از هنر خوشنویسی، در مقام ویژگی گفتمانی و تاریخمند خاص این دوره بوده و نه تنها خصیصه ذاتی و همیشگی خوشنویسی اسلامی نبوده، بلکه در کشمکش و تقابل آشکار با سایر گفتمان های تاریخ ساز هنر اسلامی همچون گفتمان علمی- هندسی در سده های پیشین قرار می گیرد.Sufism and Mysticism as the Discoursive Characteristics of Calligraphy Treatises During the Eighth to Eleventh A.H Centuries (14th-17th A.D)
Calligraphy holds a unique place in Islamic arts and has been influenced substantially by historical and social factors from the early centuries to date. An important part of these factors has not been studied mainly due to the singular, concentrated point of view prevalent in common approaches to the study of Islamic calligraphy. A different approach is to not only take into account the historical evolution that have taken place, but also to review the dominant discourses on the calligraphy during different historical periods. Accordingly, the historical evolution of Islamic calligraphy can be recognized by the analysis of discourses that have been prevalent in different historical periods. One of the discourses that has dominated the Islamic calligraphy, especially from the eighth to the eleventh A.H centuries (14th-17th A.D), is a Mystical discourse. The impact of the Mystical discourse is not confined to Islamic calligraphy, and in fact, has resulted in a wide-ranging influence on a variety of practical and theoretical fields. The birth of the Mystical discourse can be traced back to Sufism evaluation in the sixth A.H century (12th A.D). This discourse also created common features in texts and treatises of calligraphy art. Therefore, a careful study of the calligraphy treaties and texts from various fields that have been produced during that era presents a unique and distinct opportunity to understand the features of the Mystical discourse. Hence, the purpose of this research is to recognize and analyze the mechanisms of imposition mystical concepts to the calligraphy through the Neo-historical approach and to adopt discourse analysis method with emphasis on relevant texts. By reviewing the remaining texts of scholars of this period, as well as referring to the opinions of contemporary Islamic art scholars, it is concluded it is concluded that there is a very serious and profound interplay between Sufism with various industries, crafts, sciences and arts in the that period. In this regard, Mysticism and Sufism has been a decisive factor in the conception and developments that have taken place in Islamic calligraphy. Actually, Islamic calligraphy, synchronous with the Mystical development of the Islamic society, has undergone many changes that are recognizable with refer to texts and calligraphy treatises. Therefore, in this investigation, by referring to several authentic and significant texts from the prominent scholars and calligraphy masters, as well as the specialized calligraphy treatises, we extracted and recognized the features of the Mystical discourse in Islamic calligraphy treatises from the eighth to eleventh A.H centuries (14th-17th A.D). According to the results of this research, the mystical, sacred and spiritual conception of Islamic calligraphy was a specific discursive and historical features of this period and is not an intrinsic, permanent feature of the Islamic calligraphy, but is in stark contrast to other historical Islamic art discourses such as Scientific-Geometric discourse in the Middle Ages. These mystical ideas in opposition to the Sci-Geo discourse in Middle Ages, which also has a direct impact on the Islamic calligraphy until now, in regards to its creation, interpretation and investigations.
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