تحلیل مبانی فلسفی زیبایی شناسی در حکمت متعالیه : از وجود تا جمال

مریم  پیرامون مقدم; مریم سلگی; مریم  ولایتی کبابیان

Authors

Maryam Piramoun Moghadam Department of Islamic Philosophy, NT.C., Islamic Azad University, Tehran, Iran. Author https://orcid.org/0009-0001-8560-9573
Maryam Solgi Assistant Professor, Department of Islamic Philosophy and Wisdom. Al-Zahra University, Tehran, Iran. https://orcid.org/0000-0002-0448-049X
Maryam Velayati Kababian Assistant Professor, Department of Hadith Sciences and Education, University of the Quran and Hadith, Shahr-e Ray, Tehran, Iran. Author https://orcid.org/0009-0002-7411-6383

Keywords:

aesthetics, transcendental wisdom, Mulla Sadra, doubt of existence, absolute beauty

Abstract

Beauty is one of the fundamental concepts of philosophy; despite its self-evident presence in human experience, there remains considerable disagreement concerning its definition, criteria, and origin. This study aims to elucidate the philosophical foundations of aesthetics in Transcendent Theosophy and to analyze the relationship of beauty with existence, perfection, love, perception, and art. The present study employs a descriptive-analytical method and is based on library research. The findings indicate that al-Farabi associates beauty with perfection, order, intellect, and its ethical and social effects; Avicenna regards beauty as the realization of the perfection appropriate to each being and as the source of love, longing, and pleasure; and Suhrawardi explains beauty in terms of the gradations of light and manifestation. Mulla Sadra reconstructs these foundations within the framework of the primacy of existence, the gradation of existence, and the intensifying motion of the soul, thereby regarding beauty as an objective, existential, and gradational reality. Within this philosophical system, proportion and harmony are signs of sensible beauty, while pleasure, delight, and wonder are among the effects of its perception; however, the ultimate criterion of beauty is the intensity of existence and the degree to which a being possesses perfection. Furthermore, differences among individuals in the perception of beauty arise from differences in their perceptual capacities and the veils of the soul, rather than from any relativity in the reality of beauty. Accordingly, art is also understood as a symbolic representation of perfection and a manifestation of divine beauty. The source of all degrees of beauty is the Absolute Beauty of the Necessary Existent, while the beauty of created beings, in proportion to their existential rank and capacity, constitutes a limited manifestation of that Absolute Beauty.