فلسفه توماس آكوئيناس قديس و تاثير آن بر طراحي صحنه نمايش هاي اواخر عصر ميانه

The Philosophy of Thomas Aquinas and Its Influence on Scenic Design of Late Middle-Ages

آكوئيناس قديس، از جمله فلاسفه برجسته اواخر قرون وسطي است كه بيش از هر فيلسوف الهي ديگر در سده بيستم مورد توجه قرار گرفته است؛ اما در هيچ يك از اين پژوهش‌ها تلاش نشده، تا طراحي‌صحنه نمايش‌هاي قرون وسطايي را با آراء او تطبيق دهند؛ تا از اين رهگذر دريابند؛ آيا انديشه آكوئيني تاثيري بر عناصر زيباشناسانه و بصري نمايش‌هاي قرون وسطايي داشته است يا خير. آكوئيناس، زيبايي را در عناصر مجزا جستجو مي‌كرد و هر جزء را بخشي از يك كمال لايتناهي مي‌دانست. طراحي‌صحنه نمايش‌هاي عبادي نيز از قطعاتي برخوردار بودند كه در عين كمال، از نقص "جداماندگي" رنج مي‌بردند. اين نوشتار، تلاش دارد ضمن كاوش در انديشه و فلسفه زيباشناسانه قرون وسطي و آراء آكوئيناس، به تطبيق اين آراء با طراحي‌صحنه نمايش‌هاي عبادي انتهاي قرون وسطي بپردازد. پژوهش بنيادين حاضر بر اساس آثار آكوئيناس و منابع مكتوبي كه درباره نوشته‌ها و انديشه‌هاي او نوشته شده شكل گرفته است.

Thomas Aquinas is the one philosopher among these middle-age philosophers who has attracted most attention from twentieth century researchers and scholars, hence the devotion of numerous essays, researches and texts to his thought. Nevertheless, no research known to the author has read scenic design of late middle-ages in the light of Aquinas’s philosophical thought in order to investigate whether his thought has had any impact on the visual elements of middle-age theatre and performance arts or not. Saint Aquinas sought beauty in various elements. Aquinas brought three elements - Integritas, Consonantia, Claritas – under the unifying concept of absolute perfection. In other words, he considered each element as part of infinite perfection. All this, while scenic design or stage design during the middle-ages – along with Gothic architecture – were made up of parts which despite their perfection, suffered from the defect of “detachedness”. As a result, visual elements could reach unity only if juxtaposed beside one another; in this way they could account for divinely concepts. The present research takes as its point of departure, an investigation of the aesthetics of the middle-ages and especially the aesthetics of Thomas Aquinas so that it becomes possible to compare Aquinas’s thoughts on aesthetic matters with scenic design of religious theatre pieces of late middle-ages. Towards its end, the present research considers the impact of Aquinas’s thoughts on the formation of some aspects of Renaissance aesthetics.