تقابل والايي و زيبايي در فلسفه و ظهور آن در زيبايي‌شناسي معماري مساجد آزاد و الگومحور معاصر (نمونه موردي: مسجد ولي‌عصر، مصلي امام خميني تهران)

The Conflict between Sublime- Aesthetics in Philosophy and Its Appearance in the Architecture Aesthetics of Contemporary Mosques and Contemporary Patterns (Case Study: Vali-e-Asr Mosque, Imam Khomeini Mosque in Tehran)

تعارض زيبايي - والايي از موضوعات پرتنش در انديشه و مظاهر زندگي انسان، از جمله در ساخت معابد در طول تاريخ بوده است. در دوره مدرن، دو جريان فرم­گرا و كاركردگرا معماري مدرن در پاسخ به مكتب نظري امانوئل كانت فيلسوف آلماني ظهور كرد. بعدها معماران ديكانستراكتيويستي همچون آيزنمن ريشه ناهنجارگرايي خود را در فرمول اكتشافي خود براي تركيب اين دو، عنوان كردند. اين جريان­هاي فكري در دنياي اسلام، و خصوصاً ساخت مساجد رسوخ كرد؛ و كمتر به الگوهاي مفهومي منحصر به فرد اسلامي در جمع بين زيبايي-والايي و تلاش براي احياي آن در عصر جديد فكر شد. در نگاه اسلامي جامعيتي از جمال-جلال توصيه شده است كه اسلام مدعي، در اديان قبلي نبوده است و با ظهور اسلام اين تعادل رخ نموده است. با تمام اهميت اين تعادل، بر اساس نياز مي­تواند در هر نمونه تا حدودي به سمت يكي از طرفين طيف سوق پيدا كند. در اين پژوهش اصول فلسفي و معيارهاي معماري برخاسته از هر دو وجه، با رويكرد توصيفي-تحليلي، به گونهشناسي مفهومي مساجد تاريخي پرداخته شد و در نهايت دو نمونه از مساجد طراحي شده با الگوي جامعيت غربي و سنتي در بروز تقابل والا-زيبا، مبنا قرار گرفت. شاخص‌­بندي­هايي براي بررسي هر اثر معاصر بر ميزان جمال-جلال اسلامي و يا زيبايي-والايي غربي صورت گرفت. نتيجه پژوهش حاكي از تكامل معماري مساجد چهار دوره ايران، سيري از والاگرايي يا زيبايي‌گرايي محض به سوي حالات فراگير والايي-زيبايي (حالت جامع­گرايانه) داشته است؛ و در مقايسه، مساجد معاصر با الگوي غربي گاه به سمت زيبايي و والايي مادي و غير اصيل پيش رفتند. البته در موارد الگوبرداري از گذشته نيز در عين ارزش‌هاي دنبال‌شده، گاه برداشت­ ها سطحي و روبنايي است. جريان­هاي زيبايي‌گرايي، اصالت را به فرم ظاهري- و در مقابل، والايي ­گرايي، اصالت را به فضا داده‌اند و در الگوي غيرقدسي هر دو بعد تحريف تاريخ و صرفاً، به جذابيت و كاركرد تنزل يافته‌اند؛ در حاليكه نگاه جامع­ گراي قدسي نگاهي توأمان و البته با اصالت به روح و رشد روحاني دارد.

Aesthetic-Sublime conflict has been as one of the most pressing issues in the thinking that included in the manifestations of human life and the construction of temples in history. In the modern era, both the formalist and the functionalist currents of modern architecture emerged in response to the German philosopher's theory of Emmanuel Kant. Later, deconstructionist architects such as Eisenman who that stated their anomalous roots in their heuristic formula for combining the two aspect of theory. These currents of thought penetrated the Islamic world, especially the construction of mosques. Unique Islamic conceptual patterns were less discussed in the amalgamation of aesthetics and the quest for its revival in the modern age. a universality of Jamal-Jalal is recommended in the Islamic viewpoint that Islam has not claimed in previous religions and this equilibrium has taken place with the rise of Islam. This equilibrium can be traversed to either side of the spectrum in each sample as needed. In this research, the philosophical principles and architectural criteria derived from both sides and a descriptive-analytical approach was discussed to the conceptual typology of historical mosques. Finally, The models were expressed to the architecture of the historical and Islamic periods in six sections. 1-The Origin of Style Effects from Organizing (High Pure) to Artistic (Pure Beautiful) and Comprehensive viewpoint at Architectural Styles. 2- On the Jamali-Jalali side of the environmentally sensitive historical epochs, approach of cultural periods in Europe with verticalism and attention to Sublime (Egypt) to Egypt with horizontalism and the periodic classification is based on the nature (Environment) that is compared in the three categories of medieval naturalism to Renaissance naturalism (Soft modernity). 3- Sublime-Aesthetic faculties in Formalist architecture schools fall into three categories: Anatomical, space-oriented and socialist in Islamic architects of Iran. 4- Conceptual model was presented for each aspect with sensitivity to the Sublime-Aesthetic (jalal-jamal) of sensing factors. 5- Functionalism indices were investigated by three-dimensional (aesthetic, sublime and socialist) principles of Iranian architectural architecture with the principles of organizing movement in space. 6- Encoding with symbolization factors was conceptually presented as Sublime-Aesthetic attention, and the share of attention to the purely beautiful symbol in the glamorous and sublime symbols refers to the glorious dimension. The space and body were remarkable that were effective in expressing this dual opposition in the architecture of contemporary mosques. Nowadays, contemporary architects use Aesthetic and Aesthetic appearance to represent the clergy of space in Contemporary mosques. Ultimately, authenticity is in need of socialist. It is a sublime meaning that, along with simplicity, is reminiscent of the spiritual space of the model mosque (the Prophet). Finally, two examples of mosques were laid out in a comprehensive Western and traditional pattern. The indices were based in each contemporary work on Jamal-Jalal of Islam or Western Aesthetic-Sublime. The results of the study show the evolution of the architecture in the four Iranian mosques, that Has a tendency for pure sublimity or aestheticism to the sublime aesthetic states (holistic state) and when comparison to two types of mosque (contemporary Western-style mosques) have sometimes moved toward materialistic and authentic Aesthetic and Sublime. The perceptions are superficial in the past patterns but sometime this patterns are along to values. motivations of Aestheticism have given originality to outer space and Sublimation to originality and both dimensions of history have been distorted in the non-sacred paradigm and merely reduced to charm and functionality. Whereas the holistic viewpoint has a coherent and original view of spirit and spiritual growth.