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Volume 8, Issue 1 (Semi-Annual 2024)                   JIC 2024, 8(1): 147-158 | Back to browse issues page

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Barmaki F, Bani Ardalan E, Dadashi I. (2024). Investigating the Landscape Painting in Three Depictions of Layla and Majnun (Khamsa of Nizami) Based upon the Correspondence Principle of Macrocosm and Microcosm in Ibn Arabi's Philosophy. JIC. 8(1), 147-158. doi:10.61186/jic.8.1.293
URL: http://jih-tabriziau.ir/article-1-293-en.html
Investigating the Landscape Painting in Three Depictions of Layla and Majnun (Khamsa of Nizami) Based upon the Correspondence Principle of Macrocosm and Microcosm in Ibn Arabi's Philosophy
Fatemeh Barmaki1 , Esmail Bani Ardalan1 , Iraj Dadashi *2
1- Department of Art Studies, University of Art, Tehran, Iran
2- Department of Art Studies, University of Art, Tehran, Iran , dadashi@art.ac.ir
Abstract:   (2310 Views)
In traditional perspectives derived from divine revelations and teachings, the belief was that both the world and humanity represent facets of truth, with the world being as the macrocosm and humanity as the microcosm. This perspective leads to another principle, which is the harmony between the macrocosm and microcosm. According to mystical teachings and religious interpretations, the world consists of hierarchical levels, and each level, as a symbol of a higher rank, corresponds both partially and entirely to another level. The research question is how Iranian and Islamic paintings, when viewed through a perspective that emphasizes the correspondence between the microcosm and macrocosm, are perceived and interpreted. Every aspect of an artist's imagination, whether rational or imaginary, and sensory perceptions, all represent facets of truth. The mystic artist, consciously or unconsciously influenced by this spirit of the traditional world, engages in creation, and their artwork in a way alludes to truth. This study aspires to analyze three works from the Tabriz II School of painting germane to the story of Layla and Majnun. The main thrust of the study is to comprehend and present the visual components in the correspondence between macrocosm and microcosm as taught in the Islamic mysticism school for analyzing Iranian painting and deriving novel insights from it. The research is both descriptive and qualitative, using analytical and interpretive methods based upon Ibn Arabi's teachings. Data collection involves observation and study of printed and electronic sources. The results indicate that most paintings are not solely reflections of the external world or narratives but rather refer to the relationship between "humanity-nature-world" and the flow of love in the elements of existence; it is as if the artist portrays the reflection of these two worlds and the flow of love within the pillars of existence.
Keywords: landscape, nature, the principle of micro cosmos and macro cosmos
Full-Text [PDF 924 kb]   (793 Downloads)    
Type of Study: Original Research | Subject: 2
Received: 2023/09/3 | Accepted: 2024/09/10 | Published: 2025/01/4
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