تجلي حكمت متعاليه و فلسفه و عرفان اسلامي بر سازمان فضايي مساجد عصر صفوي

The Expression of Transcendent Wisdom and Philosophy and the Islamic Mysticism the Organism Spacical of Mosques on Safavid Era

مساجد نيز همچون ساير عناصر معماري و هنرايراني همگي جلوه¬اي از انديشه، عرفان، فلسفۀ اسلامي، ديدگاه ايراني درباره هستي و جهان و مكاني براي پيوند ميان صورت و معنا بوده¬اند. هنر ايران ساحت ظاهر عناصر متعالي نهفته در باور اسلامي- ايراني را شكل داده و صورتي زميني براي درك آن آفريده است. پس از ظهور اسلام، معماران مسلمان سعي نموده اند تا از اصول و اعتقادات اسلامي در آثار خود بهره گرفته و هنري را ارائه دهند كه از امور عبادي و اعتقادي آنها شكل گيرد. موضوع مقاله حاضر در رابطه با تأثير حكمت متعاليه و فلسفه و عرفان اسلامي و با اتكاء به نظر انديشمندان درباره معماري ايران در عصر صفوي كه شهر اصفهان را به عنوان مدينه اي تمثيلي از فلسفه اسلامي – ايراني قلمداد نموده اند، سعي نموده در اين راستا به اين شاخص از معماري اسلامي توجه شود. كه اين شاخص به شكل نظري و با استناد به اسناد، كتابها و متون ديني مورد مطالعه قرار گرفته است، به صورت عملي نيز با توجه به مشاهدات عيني در دو بناي مهم عصر صفوي شهر اصفهان، مسجد شيخ لطف الله و مسجد امام و ساختار معمارانه اين مساجد و همنشيني آنها با اسفار اربعه و چهار عالم عرفاني مورد بررسي قرار گرفته است.

Mosques as other Iranian architectural and artistic elements express the Islamic thoughts, mysticism, as well as Islamic philosophy and above all the Iranian view towards the world and furthermore they are places for merging form and meaning. Forming Safavi government in tenth century cause that Shi intellectual life reaches its peak, deploying Safavi government in Isfahan is opportunities which this government builds its goals based on the philosophy and fiat elections and considered to the structures as sign. The Iranian art has altered the apparent form of transcendent elements in the Iranian-Islamic belief and has led to the formation of an earthly face in order to understand them. Thus due to all of world counted as presence of God, this epiphany not strict to the religion buildings and in opinion of Iranian artists, whole of world, shows manifested of God. in other word architecture in current of self-interest relation with higher stages and be effective and facilitate spiritual and mystic perceptions، So, architecture made from wisdom which both has truth which means capable of getting sent ideas from world meaning and should arrive to send concept stage because with other, which means people and persons except creator of that work. In opinion of sometimes manifested, plan is face and example. Since the dawn of Islam, the Islamic architects have been trying to benefit from Islamic rules and beliefs in their works and present such an art that is rooted in their belief system. The main subject of the current paper is to investigate the impacts of the transcendent wisdom, as well as Islamic mysticism and philosophy on the architecture of Isfahan during the Safavid era. Based on the thoughts of the scholars about the Iranian architecture in this era, Isfahan is considered a sample city for understanding Iranian-Islamic philosophy. Hence in this paper we try to focus on this gnomon of the Islamic architecture. This gnomon is studied theoretically based on several documents, books and religious texts. Regarding the practical aspect the study has been carried out based on the current views of two most important Safavid buildings in Isfahan namely Sheikh Lotfollah and Imam mosques as well as their architectural structure and their relation to Four Journeys and Four Mystic Worlds in the Islamic beliefs.