نوع مقاله : مقاله پژوهشی
نویسندگان
1 کارشناسی ارشد، گروه فلسفه هنر، موسسه آموزش عالی هنر و اندیشه اسلامی، قم، ایران
2 استادیار، گروه فلسفه و کلام اسلامی، دانشگاه قم، قم، ایران
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسندگان [English]
Coffeehouse painting represents an authentic and sincere manifestation of anonymous and popular Iranian art that emerged during the Qajar period, relying on cultural, religious, and traditional values deeply rooted in the social context of that era. The origins of this artistic genre trace back to the late Zand period and the beginning of the Qajar era, with its foundations grounded in social conditions, religious and national literature, and the heritage of traditional Iranian painting. Characterized by its unique stylistic features, this form of art primarily focuses on the depiction of epic and religious themes, wherein religion plays a profound and influential role in shaping its content. The prominence of religious motifs within this art form has rendered it a suitable subject for theoretical reflection on the relationship between art and religion. Consequently, the analysis of the criteria by which artworks—such as coffeehouse paintings—may be considered religious assumes significant importance, since traditionalist thinkers and mystics have presented diverse perspectives and distinct criteria for defining a work as “religious art.” The overlap of these criteria and the absence of a comprehensive standard for evaluation underscore the necessity of investigating this issue in greater depth. Adopting a descriptive-analytical approach, this study explicates the key concepts of art, religion, and coffeehouse painting, and examines the structural and thematic dimensions of this artistic genre. The findings indicate that,
as epic narratives embody exalted virtues such as bravery, courage, and chivalry, it
is plausible to ascribe the character of religious art to such coffeehouse paintings. Accordingly, within the intellectual framework of traditionalist thought, coffeehouse painting can be defined as a form of religious art; however, it is noteworthy that in the evaluative hierarchy of this school of thought, religious art occupies a lower rank than sacred or even traditional art. From a mystical perspective, coffeehouse painting can be viewed primarily as a manifestation of divine epiphanies and, in this sense, belongs to
the realm of ontological beauty. Furthermore, by virtue of its rich visual elements and remarkable color compositions, it partakes in the divine names of beauty (Asmāʾ al-Jamāl). As previously articulated, the highest degree of beauty is manifested in the human being, and the mystic perpetually seeks to attain this perfection. In this regard, mystical art finds its meaning and expression precisely at this point—namely, since human perfection is intrinsically bound to the Sharīʿa, any art that inherently conveys religious and divine meanings can serve as an illuminating guide leading the mystic toward the loftiest degrees of beauty and truth, assisting him along the path of spiritual journey (sulūk). On this basis, coffeehouse painting—by virtue of its engagement with religious themes and reflection of sacred concepts—can indeed be regarded as a form of mystical art.
کلیدواژهها [English]
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