Designer and manufacturer: Mahnaz Mohammadzadeh Mianji, Faculty of Arts, Alzahra University, Ph.D. Student in Art University of Isfahan.
Derived from: The doctoral dissertation entitled "Manufacturing survey of fine cellulose Porcelain composite in order to using of light in creating ceramic art works". Thesis Advisors : Dr. Mehrnoush Shafiei Sararoudi, Art University of Isfahan and Prof. Hossein Sarpoolaky, Iran University of Science & Technology of Tehran and the accompaniment, guidance and support of Mr. Hamid Shans.
The present work titled "Parvaz-e Khial" (Imagination Flight) is based on the illumination wisdom. Sheikh Shahāb ad-Dīn Suhrawardī is the founder and professor of this school, which according to him, is the illumination wisdom is the revival of the spiritual wisdom of ancient Iranians, which is "Eternal Wisdom" or "the perennial philosphy", and observer on inner and spiritual truths and observes the inner and spiritual truths and has no beginning and endings and is not limited to a divine religion or tradition, but the first spirituality or eternal tradition that is perceived by the intuition and episteme people in the same way. The illumination wisdom is intuitive and developmental on the basis of the holy illuminations and the illumination principle of the "light and darkness". Light in this viewpoint is the code of "consciousness" and "self-consciousness." The illumination episteme is a spiritual cognition belonging to the human soul, and the perception of the illumination message or illumination awareness is not possible except by the illuminated essence to divine lights. Illumination or radiation of divine lights on the inner side of the seeker and lighting of the truth of his/her soul is the final intention of the Illuminati. The illumination epistemology, which begins from the recognition of the truth of light, ends to the inner illumination and radiation of the holy lights on Seeker soul. And it tries to explain the truth that realizes in Seeker soul.
As a result of austerity, the human essence is separated from the purgatory and dark world and because it is a lover and eager to achieve excellent light, trails towards it and delights in observing the kingdom and the illumination of the lights. Imagination was first introduced by Yaʻqūb ibn ʼIsḥāq al-Kindī, as part of human inner knowledge. He considered an inner power called imagination on the human which is the, maintenance repository for shapes of objects Also, the great men such as Farabi, Ibn Sina, Suhrawardi, Ibn Arabi and Qeysari independently devoted to this subject and linked their imagination with the mystics' intuition. Imagination and imaginational order of essence is one of the important issues in establishing the epistemological link of human's inner powers with the world of divinity and how it affects human growth and excellence, which will ultimately lead to an explanation of how to perceive and receive graces from supernatural worlds. Accordingly, among the scholars of Islam, the experts in the field of theoretical mysticism have paid great attention to the epistemological and ontology issues of imagination.
Imagination is the main and constructive element in the mankind episteme, which is responsible for the perception of real and supernatural affairs in the universe. In fact, the imagination is a mediator so that the seekers move from the sensible world to achieve the unseen status. In this way, the mystic encounters multiple mystical revelations, and finds imagination as the most important platform for the realization of his revelations. In the present work, the imagination allegory to the butterfly is originated in a many mystical allegories in which the butterfly symbolizes the love that flies toward it through its light and candle and enters in fire, madly. Moving the butterfly to fire and even burning him on fire is a mystical and poetic manifestation which is the love movement symbol in Persian mystical literature.
In the present work, butterflies are an allegory of the power of imagination flying towards a light that is a code from the truth of the spiritual world. The selection of the semi-transparent chinaware body from the ceramic bodies, while the clay (soil) nature of it show the belonging of imagination power to human in the material world, but also emphasizes the immaterial nature and superiority of the imagination power than other powers.
In the installation place of the work, the presence of roof valves whose light passes through them is self-referencing the prison of the universe. And on the other hand, a human who is captured among the wall, symbolizing the material world and the prison of human spirit, and trying to escape from it, is embodied to the hardships that human must tolerate for escape the power his/her imagination power from trapping these obstacles to flee it toward heavenly world.
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