Strategic Studies of Art

Strategic Studies of Art

Functions of Farabi’s Fantasy Theory in Paintings of Hannibal Alkhas and Habib Allah Sadeghi

Document Type : Original Article

Authors
Behzad Mohebbi 1
Fereydon Hasankhani Qavam 2
1 Assistant Professor, Department of Art, Faculty of Literature and Humanities, University of Mohaghegh Ardabili, Ardabil, Iran (Corresponding Author)
2 Instructor, Department of Art, Faculty of Literature and Humanities, University of Mohaghegh Ardabili, Ardabil, Iran. f.ghavam77@gmail.com
10.22083/ssa.2024.433883.1023
Abstract
Imagination has been extensively researched in the field of philosophy and art. Most of philosophers and artists consider Imagination as an integral part of creating an art work . Farabi, called The Second Teacher, who has been one of the greatest Iranian-Islamic thinkers, has proposed theories about Imagination. He proposed three areas with one sub-group for Imagination. In this study, we investigated the functions of Farabi’s Imagination Theory in paintings of Hannibal Alkhas and Habib Allah Sadeghi as the contemporary Iranian artists who has created distinguishing art works in different periods. The works of Hannibal Alkhas have used Imagination by having characteristics such as modernism, symbols of Iranian art and elements of the Assyrian tribe. The works of Habib Allah Sadeghi is distinguished by signs of Iranian art, tendency towards revolution and war art, and symbolism. The current study is a descriptive-analytical. The findings revealed that considering the approach of art works of Hannibal Alkhas and Habib Allah Sadeghi, their work period are closely related to the second and third stages of Farabi’s theory. As there is no comprehensive realism in art works of Hannibal Alkhas, therefore we cannot put his works in the first stage of Farabi’s Fantasy Theory. Considering that most of art works of Hannibal Alkhas enjoy analysis of elements and symbolizing and depicting elements in their secondary concept, so we can put them in the second stage and first section of the third stage. Regarding the art works of Habib Allah Sadeghi, some of them have been created based on a tendency towards realism; so, they can be in the first stage. However, most of his art works should be put in the second stage and the first part of the third stage.
Keywords
Imagination
Farabi
paiting
Hannibal Alkhas
Habib Allah Sadeghi

  • منابع

    ابراهیمی دینانی، غلامحسین(۱۳۹۶). رویکرد حکمت اشراق به هنر اسلامی. مجموعه مقالات درس و گفتارها، جستارهایی در چیستی هنر. تهران: فرهنگستان هنر.

    بلخاری، حسن(۱۳۸۶). ابداعات فارابی در مفهوم و کارکرد تخیل. پژوهشنامه علوم‌انسانی. 53، 90-75.

    حسن‌زاده آملی، حسن(۱۳۹۱). انسان در عرف عرفان. چاپ یازدهم(اول: 1377)، تهران:  انتشارات سروش.

    حسن‌زاده آملی، حسن(1386). دروس معرفت نفس. چاپ سوم (اول:1381)، قم: انتشارات الف.لام.میم.

    خادمی، عین‌الله(1386). چگونگی پیدایش کثیر از واحد(نظام فیض) از دیدگاه فارابی، فصلنامه اندیشه نوین دینی، 3(10)، 73-100.

    صدر، علی (۱۳۸9). کودکی و خصلت نقاشی هانیبال الخاص. پیک،130، 19.

    فلامکی، منصور(۱۳۸۵). فارابی و سیر شهروندی در ایران. چاپ دوم، (اول: 1384)، تهران: انتشارات فضا.

    قادری، سید محمدهادی(۱۳۸۹). اهمیت الخاص شناسی. نشریه اینترنتی فیروزه، تهران.

    کربن، هانری(1385). تاریخ فلسفه اسلامی. مترجم: جواد طباطبایی، تهران: انتشارات کویر.

    مفتونی، نادیا(۱۳۹۷). نظریۀ هنر فاضلۀ فارابی و رهیافت معاصر. پژوهش‌های عقلی نوین، 3(6) ، 116-97.  Doi:  10.22081/NIR.2019.52448.1061

         مفتونی، نادیا(1389). فارابی، خیال و خلاقیت هنری. تهران: انتشارات سوره مهر.

    مفتونی، نادیا(1389). هنر به‌مثابه راهبرد فرهنگی در اندیشه فارابی. راهبرد فرهنگ، 10(11)، 126-113.

    هاشم نژاد، حسین(۱۳۸۵). درآمدی بر فلسفه هنر از دیدگاه فیلسوفان اسلامی. فصلنامه قبسات، 11(40-39)، 313-332.

     

    • Nadir,A. (2015). Investigation The Plase Of Imagination In Farabi’s Epistemological Theory. Asian Science, 11(22), 227-220.

     

     

     

     

    References

     

    Balkhari, H. (2007). Farabi's innovations in the concept and function   of imagination. Journal of Humanities, No. 53, 90-75. [In Persian].

    Carbon, H. (2006). History of Islamic Philosophy, translated by Javad Tabatabai, fifth edition, Tehran: Kavir Publications. [In Persian].

    Ebrahimi Dinani, G. (2016). The approach of Hikmat Ishrak to Islamic art. A collection of essays on lessons and speeches, Essays on the nature of art, 7th edition, Tehran: Farhangistan Art Academy. [In Persian].

    Flameki, M. (2006). Farabi and the course of citizenship in Iran, third edition, Tehran: Eshar Fazza. [In Persian].

    Hashemnejad, H. (2016). an introduction to the philosophy of art from the perspective of Islamic philosophers, Qobsat Quarterly, 11(39-40). 331-332. [In Persian].

    Hassanzadeh Amoli, H. (2007). Self-knowledge, Qom: A. Lam. Mim Publications. [In Persian].

    Hassanzadeh Amoli, H. (2011). Man in mysticism, Tehran: Soroush Publications. [In Persian].

    Khademi, A. (2007). The way of the emergence of multiple units (Nizam Faiz) from Farabi's point of view, New Religious Thought Quarterly, 3(10), 73-100. [In Persian].

    Maftoni, N. (2010). Art as a cultural strategy in Farabi's thought, culture strategy, 10(11). 113-126. [In Persian].

    Maftoni, N. (2010). Farabi, artistic imagination and creativity, Tehran: Surah Mehr Publications. [In Persian].

    Maftoni, N. (2017). Farabi's theory of ideal art and contemporary approach, modern intellectual researches, 3(6) 97-116. [In Persian].

     

    Nadir,A. (2015). Investigation The Plase Of  Imagination In Farabi’s Epistemological Theory. Asian Science, 11(22), 227-220.

    Qadri, S. M. H.. (2010). The importance of specialism, Firouze online publication, Tehran. [In Persian].

    Doi: 10.22081/NIR.2019.52448.1061.

    Sadr, Ali (2008). Childhood and characteristic of Hannibal's painting. Peak, 130, 19.