Journal of Islamic Crafts

fa تبیین حکمی و عرفانی "مراحل و نحوه صدور فعل از نفس" در فلسفه صدرالمتألهین شیرازی با تأکید بر "مراتب خلق اثر در هنر و معماری اسلامی" Philosophical explanation of "stages and quality of act issuance" in Sadral-Muta'alihin Shirazi's philosophy with an emphasis on "process of creation of artwork in Islamic art and architecture" مبانی نظری هنر اسلامی 2 پژوهشي Original Research این پژوهش به بررسی مراتب و چگونگی صدور فعل از نفس انسان در اندیشه عرفانی صدرالمتألهین، با تأکید بر مراتب خلق آثار هنری اسلامی توسط هنرمند عارف می‌پردازد. در نگرش عرفانی فاعلیّت حق‌تعالی به طریق تجلّی است و صدرا به تأسی از آن و در تبیین نسبت حق با خلق،‌ از تمثیل کیفیت ارتباط نفس و قوای آن بهره می‌برد. وی با بیان مماثلت نفس و ربّ در اوصاف ذات و افعال، مراتب و چگونگی صدور فعل از نفس را متأثر از مراتب و مراحل فاعلیت حق‌تعالی تبیین می‌کند. در این دیدگاه، نسبت نفس انسان با صور و ادراکات کلی عالم عقل و صور جزئی عالم مثال مانند نسبت فاعل به فعل و خالق به مخلوق است و خداوند نفس انسان را مثالا، لِذّاته، صفاته و افعاله خلق نموده است چنانچه رابطه‌ای که بین حق‌تعالی و مخلوقات برقرار است، بین نفس با معلومات نفس نیز وجود دارد. این پژوهش با روش توصیفی-تحلیلی، تطبیقی، به این نتیجه دست‌یافته که در نگرش عرفانی صدرا، نفس با ارتقاء و تعالی خود طی حرکت جوهری و با علم حضوری، قادر به ابداع و ایجاد صور عوالم بالاتر در نزد خود بوده، که پس از حصول ادراک صور عقلی و خیالی در نفس، صدور فعل از نفس، طی مراحل "عنایت"، "قضا"، "لوح" و "قدر"، مطابق با فاعلیّت ربّ، انجام می‌گیرد و به دلیل ارتباط هنرمند با حلقه‌های صوفیانه صنفی "فتیان"، مراتب خلق و صور آثار هنر و معماری اسلامی، نتیجه محاکات و تقلید اصول و سلسله‌مراتب صدور فعل از نفس در قاعده صدرالمتألهین است.   <pre> This study discusses quality and hierarchy of issuance of act from human soul from the view of Sadr al-Din Muhammad Sadra Shirazi's (Sadral-Muta'alihinmystical thought with an emphasis on the process of creation of Islamic art oeuvre by a mystic artist.  Mystic attitude, suggests that agency of Almighty is by emanation and in the mystical cosmology of Sadra, this is based on the unity of existence in the form of self-disclosures and reflections of God to be eternal and endless. Based on this, what is done as the foundation of Islamic art and architecture with regard to recreation and representation of the hierarchy of existence by a mystic artist, is the demonstration and representation of the self-disclosure of Almighty God in this mystical perspective. Sadra applies the allegory of quality of soul and its powers in explaining the relation of Almighty and creation, by suggesting the resemblance of soul and God in nature and acts, expresses quality and process of act issuance from soul to be affected by the process and phases of Almighty's agency. At this thought, the ratio of the human soul to the forms and perceptions of the world of reason and forms of the imaginary world is like the ratio of the doer of the action and the creator of the creature. God has created the human soul like his own nature, attributes and actions. As the relation between God and creatures is in the form of the knowledge by presence between the soul and intrinsic information, the soul is capable of inventing the substantive rational forms and material-dependent imaginary forms. On the other hand, in mysticism, the formation, perfection and growth of Islamic art and architecture is the result of representation and recreation of the theories of unity of existence and self-disclosure in Islamic mysticism, which is attained through the mystic artist’s attention to self and self-discovery. Due to symmetry and close relationship between different mystic groups such as Fattian and architects in the first centuries after Islam, many thinkers and particularly contemporary traditionalists considered the creation of abstract forms in the Islamic art and architecture by architects as the result of mystic revelations and recreation of the forms in the celestial world  that are achieved through the revelation of the soul of the architects and their relationship with the celestial world via discovery and observation. From the mystical point of view, divine acts with regard to being from the unseen world of possibilities to the world of reflections could be categorized into favor, destiny, board, and value. Sadral-Muta'alihin considers God’s favor as his knowledge of the system of the states of things. Scientific destiny is the forms of creatures to God and the objective destiny is the existence of rational forms of all creatures with the innovation of the almighty. Value is the stability of the forms of all creatures in the universe on the minor face and in compatibility with their personal external materials that are the documentation of their causes. This investigation, by applying descriptive-analytic comparative method, has concluded that according to mystic attitude of Sadra, soul by promoting and transcending itself during essential movement and with knowledge by presence, is capable of innovating and creating the form of worlds beyond itself that after acquiring the perception of rational and imaginary forms in soul, issuance of act from soul during "grace", "providence", "tabula" and "free will" is accomplished in consistence with God's agency and due to the artist's connection to Sufi guild cycles of "Fatian", process of creation and forms of Islamic works of art and architecture is the result of mimesis and imitation of principles and hierarchy of issuance of soul according to Sadral-Muta'alihin's theorem </pre> فاعلیّت نفس, عنایت, قضا, قدر, معماری اسلامی. soul agency, favor, providence, free will, Islamic architecture. 25 33 http://jih-tabriziau.ir/browse.php?a_code=A-10-131-1&slc_lang=fa&sid=1 Asadollah Shafizadeh اسداله شفیع زاده shafizade.a@gmail.com 1003194753284600254 1003194753284600254 Yes Azad Islamic University, Ahar Branch دانشگاه آزاد اسلامی واحد اهر