تخیل خلاق درآثار نقاشی سهراب سپهری از منظر محی الدین ابن عربی
آرشیو
چکیده
بیان مسئله سهراب سپهری از شاعران و هنرمندان نوپرداز ایرانی است که مبنای فکری و اندیشه های عرفانی این هنرمند در خلق تصاویر مناظر طبیعی، از نظام تخیّلی موجود در ناخودآگاه ذهن او نشأت گرفته است و تجلّی نوع تفکرات هنرمند نسبت به هستی و مظاهر آن می باشد و از طرفی دیگر جاذبه، غنا، در عین سادگی و به دوراز پیچیدگی فنی و فرمالیستی نقاشی های سپهری به دلیل شگرد او در هماهنگ ساختن بی نظیر آراء و اندیشه ها ی فلسفی او با عناصر طبیعی است. مسلم است که هیچ هنرمندی، بدون ارزش ها و معیارهای زیبا شناسانه زمان خود قادر نیست به فعالیت و آفرینش هنری بپردازد، روح با زمان و جامعه پیوند خورده و عجین شده است. فائق آمدن به وجهه نوآوری در اثر هنری، به مفهوم دیگر، دریافت عمق و معانی خارج از محدوده ظرف زمان و مکآن که برای تداوم و بقای هنری ضرورتی تام دارد. هدف پژوهش هدف این مقاله بررسی اندیشه های عرفانی سهراب سپهری در «مجموعه نقاشی های تنه درختان» و ارتباط آن از منظر تخیّل خلاق ابن عربی است. سوال پژوهش با توجه به این که سؤال اصلی پژوهش «چگونه اندیشه های عرفانی سهراب سپهری را در آثارش از باب تخیّل خلاق ابن عربی بررسی کنیم؟» می باشد روش پژوهش این پژوهش ازنظر هدف بنیادی به روش ترکیبی شامل ماهیت توصیفی تحلیلی برمبنای تجزیه وتحلیل به روش کیفی بوده با استفاده از گردآوری منابع کتابخانه ای انجام شده است در این مقاله ضمن بیان عرفان سهراب سپهری و گردآوری آراء و تفکرات ابن عربی، به بررسی تأثیرات پذیرفته شده ی آثار سهراب سپهری پرداخته و هم چنین به مطالعه در اندیشه های عرفانی، مکاتب فکری و فلسفه ای متأثر از آن ها، در آثار سپهری پرداخته شده است. بامطالعه بیان نمادینی که در انتخاب رنگ ها، عناصر، ترکیب بندی نقاشی هایش داشته است، آثارش مورد تجزیه وتحلیل قرارگرفت. نتیجه گیری این تحقیق حاکی از آن است که درختان در آثار سپهری نماد عالم معنی و هستی هستند و به مخاطب این درک را القاء می کند که عالم درختان یکی ازخوانش های هستی می باشند. آنچه قابل تأمل می باشد، ظهور نوعی خودآگاهی در جهان نوین است که باعث هم زیستی دوباره فرهنگ ها و تمدن های گوناگون می باشد که آن هم مستلزم ترکیب خلاقانه علم، هنر و عرفان با سازوکار خود ویژه ای است که متفکّران بسیاری را در سراسر عالم به تفکّر و تعمق وا داشته است و نویدبخش دنیای هماهنگ و متعالی استCreative imagination in the paintings of Sohrab Sepehri from the point of view of Mohi al-Din Ibn Arabi
Problem Statement:
In today’s world, what is increasingly accepted is the existence of an intrinsic, harmonious order throughout the entire cosmos. Understanding and perceiving this inner order requires the interconnection of knowledge, art, and mysticism through imagination and creativity. Imagination, by liberating human thought from the bonds of worldly attachments and emotions, paves the way for the recognition of pure truth — a core teaching of divine religions, particularly emphasized in Islamic-Iranian mysticism. The relative knowledge of pure truth, achieved through intuitive and mystical imagination, leads to the comprehension of the harmony and beauty of the universe. This understanding is only attainable through the imaginative perception of the interconnectedness of various domains of existence. Intuitive and mystical imagination serves as the starting point for discovering the higher realms and the profound consciousness of existence.
This notion has been significantly reflected in our art and literature, and it can be said that only mystics and masters of the spiritual path have attained higher levels of mystical imagination and relative knowledge of the pure truth.
As witnessed, art has also entered the realm of self-knowledge. Many artists strive to express the chaotic, uncertain, fragile, and contradictory conditions of the contemporary era through their works. It seems they hoped that by presenting these conditions in visible forms and images, humanity could overcome such turmoil. No artist can create or engage in artistic activity without the aesthetic values and standards of their time; the spirit is deeply intertwined with the society and era. Achieving innovation in a work of art, in another sense, means perceiving depths and meanings beyond the confines of time and space — an essential condition for the endurance and permanence of art.
Research Objective:
The objective of this study is to investigate the mystical thoughts of Sohrab Sepehri in his Tree Trunk Paintings collection and to examine their connection from the perspective of Ibn Arabi’s concept of creative imagination.
Research Question:
Given the main research question, "How can the mystical thoughts of Sohrab Sepehri be examined in his works from the perspective of Ibn Arabi’s creative imagination?" the study is formulated accordingly.
Research Methodology:
This research is fundamental in its aim and employs a mixed methodology based on a descriptive-analytical nature with qualitative analysis, using library resources for data collection.
In this article, alongside explaining Sohrab Sepehri’s mysticism and collecting the ideas and views of Ibn Arabi, the study addresses the influences absorbed by Sepehri’s works. It also explores the mystical ideas, philosophical schools of thought, and philosophies that impacted Sepehri’s creations. By studying the symbolic language seen in his choice of colors, elements, and compositions, his artworks are analyzed and interpreted.
Conclusion:
The mystical concepts in Sohrab Sepehri’s paintings originate from his spiritual and philosophical beliefs. His journey into the realm of mystical subjectivities is distinctly different from classical mysticism. In classical mysticism, certain subjects and issues were particularly emphasized, whereas Sepehri’s mysticism diverges from this tradition.
Classical mysticism placed humankind at the center, depicting humans as supreme beings. However, in Sepehri’s works, emotional resonance is deeply linked with a specific form of mysticism — one that is neither artificial nor contrived.
Sepehri possessed a broad, comprehensive, and philosophical outlook toward humanity and the entirety of existence. In his vision, there is no superior human; rather, all beings are placed on an equal footing. He portrayed humans alongside other elements of nature, emphasizing the unity of humanity, nature, and the equality of all beings in existence.
Sepehri believed that all objects in the universe are as valuable as humans and that the coexistence of all things shapes justice and enlightenment.
Influenced by Eastern thought, Sepehri embarked on a spiritual journey to uncover the ultimate secrets of existence. Adopting this worldview in his philosophy and outlook, he attained nobility of spirit and grandeur of soul, distancing himself from worldly attachments and daily material concerns.
These kinds of reflections are certainly not the product of mere information acquisition but result from purifying the heart’s mirror of worldly impurities and gravitating toward purity and spirituality.
The purposeful efforts and revelatory gaze of Sepehri led to the creation of artworks imbued with sacred and profound themes. Through this arduous journey, the artist achieves proximity to the Divine and creates art that remains perpetually connected to God.
Sepehri regarded everything in the world as a manifestation of the Divine. Like the mystics, he chose solitude from society to elevate his spiritual and mystical growth. With an insightful vision, Sepehri saw the multiplicity of the world as dependent upon the Essence of the Divine. Whatever he perceived, he sought the Divine essence within it and saw nothing but Truth.
His God was the God of all trees, birds, and waters; he perceived the Divine in the fragrance of roses, jasmine flowers, clover fields, and throughout creation. As he states, "A human close to nature is close to God."
All of Sepehri’s poetry and artworks are inspired by nature, and nature itself is the creation of God.
Based on the results of this study, one can discern the relationship between imaginative forms and creative imagination from the perspective of Ibn Arabi’s thought in Sepehri’s works, indicating Sepehri’s deep philosophical and mystical worldview.
Influenced by Eastern philosophy, Sohrab Sepehri walked the spiritual path to unveil the mysteries of existence. By adopting this perspective in his worldview and thought, he attained nobility and grandeur of spirit and distanced himself from mundane attachments.
Such contemplations are undoubtedly the fruit of inner purification rather than mere information gathering.
The outcome of Sepehri’s purposeful endeavors and his revelatory vision is the creation of artworks infused with sacred and meaningful themes. Through this challenging journey, the artist achieves divine proximity and creates a form of art intrinsically bound to God.
Sepehri saw everything in existence as an epiphany of the Divine. In a manner similar to the great mystics, he chose isolation from society to cultivate spiritual growth. With the eye of insight, Sepehri perceived the multiplicity of existence as founded upon the Divine Essence. In everything he encountered, he sought the Divine and saw nothing but truth.
His God is the God of every tree, every bird, and every river. He witnessed the Divine presence in the scent of roses, the fragrance of jasmine, the greenery of clover, and in all of creation.
As he believed, proximity to nature equates to proximity to God.
Given the findings of this research, it is evident that the interplay of imaginative imagery and creative imagination, viewed through the lens of Ibn Arabi’s philosophy, is deeply present in Sohrab Sepehri’s works, reflecting his profound philosophical and mystical perspective.
Keywords: Sohrab Sepehri, Eastern Mysticism, Creative Imagination, Muhyiddin Ibn Arabi
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