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کاربست روش پدیدارشناسی هرمنوتیکی در آشکارگی سرشت زیبایی نمونه مورد مطالعه: میدان نقشجهان | ||
| پژوهش های هستی شناختی | ||
| دوره 9، شماره 18، اسفند 1399، صفحه 467-497 اصل مقاله (1.81 M) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22061/orj.2020.1397 | ||
| نویسندگان | ||
| سمانه امامی کوپائی* 1؛ ویدا نوروز برازجانی2؛ محمد جواد صافیان* 3 | ||
| 1استادیارگروه معماری، واحد دولت آباد، دانشگاه آزاد اسلامی، اصفهان، ایران | ||
| 2استادیار و عضو هیأت علمی گروه معماری، دانشکده معماری و شهرسازی، دانشگاه آزاد اسلامی، واحد تهران مرکزی | ||
| 3دانشیار و عضو هیئت علمی گروه فلسفه، دانشکدۀ ادبیات و علوم انسانی، دانشگاه اصفهان | ||
| تاریخ دریافت: 29 تیر 1399، تاریخ پذیرش: 29 تیر 1399 | ||
| چکیده | ||
| پرسش از سرشت زیبایی و اینکه چگونه فضاهای معمارانه کهن این سرزمین در نگاه مخاطبان خود به عنوان آثاری زیبا آشکار میشوند؛ پرسش مهمی است که همواره مورد توجه پژوهشگران و متفکران این عرصه بوده است. این مطالعه بنای آن را دارد که این مقوله را از نگاهی دیگر؛ و البته بنیادیتر مورد تفکر قرار دهد. لذا سعی شده با صورتبندی و کاربست روش تفکر پدیدارشناسانه هایدگر، در راه آشکارگی بیشتر و تفکری عمیقتر بر سرشت زیبایی در یک از فضاهای زیبای معماری گذشته گام برداشته شود. در این راه، روشنسازی ذات زیبایی نه از طریق تفکر مفهومی، که با رجوع به خود اثر معماری صورت میگیرد. ما میدان نقش جهان را به عنوان یکی از آثار شاخص و زیبای اصفهان عصر صفوی مورد خوانش قرار دادیم تا به این پرسش پاسخ دهیم که میدان به عنوانِ چه اثری در احساسات و تجربه زیباشناسانه مخاطبان خود آشکار میشود؟ در نهایت، تفسیر تجربههای زیباشناسانه مخاطبان مؤلفههایی همچون آزادیخاطر، آرامش، قداست، صداقت، معنویت، زندگی، انکشاف، تازگی، منطق و غیره، را ظاهر ساخت که نشاندهنده آن است که میدان نقشجهان به مثابه اثری هنری، انسانی، طبیعتگرا، کارکردگرا، اخلاقی و خاطرانگیز برای مخاطبان تجلی کرده و تجربههای زیبا و لذتبخشی را آفریده است. | ||
| کلیدواژه‌ها | ||
| پدیدارشناسی؛ پدیدارشناسی هرمنوتیکی؛ میدان نقشجهان؛ زیبایی؛ هنر دوران سنت | ||
| عنوان مقاله [English] | ||
| Applying Hermeneutic Phenomenology Method in Revealing the Essence of Beauty: Naghshe Jahan square | ||
| نویسندگان [English] | ||
| samaneh emami1؛ vida Norouz Borazjani2؛ Mohammad Javad Safian3 | ||
| 1faculty of architecture | ||
| 2Associate Professor, Faculty Member, Department of Architecture, Faculty of Architecture & urban planning, Islamic Azad University, central Tehran branch | ||
| 3Isfahan University | ||
| چکیده [English] | ||
| The question of the essence of beauty and how the ancient architectural spaces of this land are revealed to their audiences as beautiful works is an important question that has always been of interest to scholars and thinkers in this field. This study is intended to rethink this issue from a different perspective, yet more fundamental. By formulating and applying Heidegger's phenomenological method of thinking, we strive to take the path of greater revelation and a deeper reflection on the essence of beauty in one of the beautiful architectural spaces of the past. In this regard, the illumination of the aesthetic essence is achieved not by conceptual thinking but by reference to the architectural work itself. We read the naghshe jahan square as one of the most beautiful works of Isfahan in the Safavid era to answer the question that how does naghshe jahan square manifest itself in the emotions and aesthetic experience of its audience? Finally, the interpretation of the audience's aesthetic experiences revealed for the audiences some elements, including freewill, consolatory, sanctity, honesty, spirituality, life, illumination, novelty, and logic, which represents that the naghshe jahan square is being revealed to the audiences as an artistic, humane, naturalistic, functional, ethical and memorable work and creates a beautiful and enjoyable experience for them. | ||
| کلیدواژه‌ها [English] | ||
| phenomenology. Hermeneutic phenomenology, beauty, Naghshe jahan square, traditional art | ||
| مراجع | ||
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