نوع مقاله : مقاله پژوهشی
نویسندگان
1 'گروه صنایع دستی، دانشکده صنایع دستی، دانشگاه هنر، اصفهان، ایران
2 گروه هنرهای اسلامی، دانشکده صنایع دستی، دانشگاه هنر، اصفهان، ایران.
3 گروه ارتباط تصویری، دانشکده هنرهای تجسمی، دانشگاه هنر اصفهان، اصفهان، ایران
چکیده
کلیدواژهها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
Lapidary is the design of a joint between light and stone to intensify the brightness and transparency of gems. In the philosophy of illumination, although there are two hierarchies of lights in vertical and horizontal orders, only one of these orders, namely horizontal lights, can provide ways for rising states of material bodies (e.g., gems), particularly under the control of the horizontal managing (mudabbira) lights.
Regarding the fact that the art of Lapidary and its relationship with the concept of light has not been addressed yet in previous studies, this paper aimed to do so and gave rise to the following question: From the perspective of illumination, how three stones namely transparent Rock-quartz, semi-opaque Agate, and opaque Jasper could become more qualified and illuminated with the use of lapidary techniques? To answer this question, first of all, the criteria for analysis of gems (including from and archetypal species) are derived from the philosophy of illumination. Each of the gems is investigated based on its physical qualities (appropriate lapidary technique, transparency, and colour) as well as its associated managing lights (lord of species, celestial sphere, and fixed star). Observational and documentary techniques are used for data collection, while a qualitative method is employed for the analysis. Persian lapidary traditions and techniques are observed regarding the common methods and popular gemstones in Iran. Theoretical data are collected mostly from Suhrawardi’s writing and some other sources in explaining his theory.
This research is an analytical study mainly in terms of Suhrawardi’s concept of lights. From this viewpoint, the world stands on vertical lights comprising static steps, while global movement and evolution occur within horizontal lights (e.g., Mudabbira, Spahbed). Barzakh (i.e., an ethereal body) and materials like gemstones are made of light, which in the realm of each horizontal light can be moved toward perfection. What enables material and ethereal bodies to move and evaluate are, firstly, the characteristics of dark substances, and secondly, the illumination of their horizontal lights. This viewpoint not only has provided an esoteric foundation for the lapidary based on ancient astrology and angelology, but also has paved the way for drawing a connection between the light and dark states of substance. It has therefore enabled lapidary artists to come up with innovative ideas.
As a result, it can be concluded that in the art of lapidary, gems are supposed to be amulets that can be governed by the managing lights; to this end, the qualities of transparent Rock-quartz, Agate, and Jasper are improvable through brilliant, cabochon, and flat cuts to allow the managing lights to emanate. Based on ancient astrology, these three gems (Rock-quartz, Agate, and Jasper) are assumed to be governed by the Moon, Mars, and Jupiter.
It goes without saying that this study sheds light on the relationship between theory and practice in and for Islamic arts. In particular, it broadens the horizon of artists and researchers to propose solutions to advance Islamic arts on the basis of theories.
کلیدواژهها [English]
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