Aesthetic Manifestations in Ibn Miskawayh's Thought
It cannot be claimed that Ibn Miskawayh, the philosopher of the fourth century AH, systematically addressed the basic issues of aesthetics and philosophy of art in his works. However, he considers the issue of aesthetic experience and beauty as an issue and believes that the basic features of aesthe...
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| Format: | Article |
| Language: | Persian |
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Razavi University of Islamic Sciences
2021-02-01
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| Series: | آموزههای فلسفه اسلامي |
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| Online Access: | https://ipd.razavi.ac.ir/article_1303_3c2f2aa18dfdc371d83bd36b422c16bc.pdf |
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| _version_ | 1839608428512673792 |
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| author | Amin Rahbar Esma'il Bani Ardalan Zahra Golnaz Manteghi Fasaie |
| author_facet | Amin Rahbar Esma'il Bani Ardalan Zahra Golnaz Manteghi Fasaie |
| author_sort | Amin Rahbar |
| collection | DOAJ |
| description | It cannot be claimed that Ibn Miskawayh, the philosopher of the fourth century AH, systematically addressed the basic issues of aesthetics and philosophy of art in his works. However, he considers the issue of aesthetic experience and beauty as an issue and believes that the basic features of aesthetic experience are related to unity. Unity is a characteristic of divine existence, and the purpose of harmony, proportion, and rhythm in the physical (corporeal, bodily) world is to approach (to come close) this unity. In his view, beauty is an objective idea (concept) and “beautiful” is defined in the triangle of soul-nature-matter. What makes an object beautiful is the harmony between the souls that reflects the divine existence with a matter that is able to receive it. Perfection occurs when the artist applies what is appropriate to the soul in matter. Perfection is also the product of the relationship between theory and practice, which are two complementary fields. Ibn Miskawayh, in his works also examines music and poetry. In his view, music is the closest experience to receiving a divine existence. The experience gained through music has a greater impact on the soul than other arts. In his view, there is a connection between music and the unity and universal order. However, he keeps his distance from poetry, because he believes that poetry uses tricks to arouse the soul. |
| format | Article |
| id | doaj-art-c768c2636ca24f86b4bdbacb1b97fbdc |
| institution | Matheson Library |
| issn | 2251-9386 2783-4026 |
| language | fas |
| publishDate | 2021-02-01 |
| publisher | Razavi University of Islamic Sciences |
| record_format | Article |
| series | آموزههای فلسفه اسلامي |
| spelling | doaj-art-c768c2636ca24f86b4bdbacb1b97fbdc2025-07-31T10:30:20ZfasRazavi University of Islamic Sciencesآموزههای فلسفه اسلامي2251-93862783-40262021-02-01152714116610.30513/ipd.2021.1910.11691303Aesthetic Manifestations in Ibn Miskawayh's ThoughtAmin Rahbar0Esma'il Bani Ardalan1Zahra Golnaz Manteghi Fasaie2PhD student in Philosophy of Art. Islamic Azad University of HamadanAssociate Professor at Tehran University of ArtsAssistant Professor at Islamic Azad University of HamadanIt cannot be claimed that Ibn Miskawayh, the philosopher of the fourth century AH, systematically addressed the basic issues of aesthetics and philosophy of art in his works. However, he considers the issue of aesthetic experience and beauty as an issue and believes that the basic features of aesthetic experience are related to unity. Unity is a characteristic of divine existence, and the purpose of harmony, proportion, and rhythm in the physical (corporeal, bodily) world is to approach (to come close) this unity. In his view, beauty is an objective idea (concept) and “beautiful” is defined in the triangle of soul-nature-matter. What makes an object beautiful is the harmony between the souls that reflects the divine existence with a matter that is able to receive it. Perfection occurs when the artist applies what is appropriate to the soul in matter. Perfection is also the product of the relationship between theory and practice, which are two complementary fields. Ibn Miskawayh, in his works also examines music and poetry. In his view, music is the closest experience to receiving a divine existence. The experience gained through music has a greater impact on the soul than other arts. In his view, there is a connection between music and the unity and universal order. However, he keeps his distance from poetry, because he believes that poetry uses tricks to arouse the soul.https://ipd.razavi.ac.ir/article_1303_3c2f2aa18dfdc371d83bd36b422c16bc.pdfibn miskawayhaestheticism experiencebeautyart |
| spellingShingle | Amin Rahbar Esma'il Bani Ardalan Zahra Golnaz Manteghi Fasaie Aesthetic Manifestations in Ibn Miskawayh's Thought آموزههای فلسفه اسلامي ibn miskawayh aestheticism experience beauty art |
| title | Aesthetic Manifestations in Ibn Miskawayh's Thought |
| title_full | Aesthetic Manifestations in Ibn Miskawayh's Thought |
| title_fullStr | Aesthetic Manifestations in Ibn Miskawayh's Thought |
| title_full_unstemmed | Aesthetic Manifestations in Ibn Miskawayh's Thought |
| title_short | Aesthetic Manifestations in Ibn Miskawayh's Thought |
| title_sort | aesthetic manifestations in ibn miskawayh s thought |
| topic | ibn miskawayh aestheticism experience beauty art |
| url | https://ipd.razavi.ac.ir/article_1303_3c2f2aa18dfdc371d83bd36b422c16bc.pdf |
| work_keys_str_mv | AT aminrahbar aestheticmanifestationsinibnmiskawayhsthought AT esma039ilbaniardalan aestheticmanifestationsinibnmiskawayhsthought AT zahragolnazmanteghifasaie aestheticmanifestationsinibnmiskawayhsthought |