نوع مقاله : مقاله پژوهشی
نویسندگان
1 ندارم
2 دانشیار گروه هنر اسلامی
3 گروه فلسفه اسلامی
4 گروه هنر عکاسی
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسندگان [English]
imagination and Representation in the Photographic Works of Mehrdad Afsari: A Philosophical Approach Based on Mulla Sadra’s Thought
Introduction: Mehrdad Afsari’s photographic works, at first glance, present a deeply personal and unique narrative style. They rely heavily on the visual representation of nature and objective reality. However, a closer and more reflective examination reveals that Afsari’s photographs are not mere reproductions of the external world. Rather, they are the result of a complex interplay between inner contemplation, active imagination, and innovative photographic techniques. These images speak not only of the visible world but also of the invisible dimensions of thought, memory, and metaphysical presence.
So far, Iranian photography critics have largely examined Afsari’s work in relation to the trends of global contemporary photography and through the lens of Western critical theories. This paper, however, adopts a different perspective by analyzing Afsari’s photography through the philosophical framework of the Muslim philosopher Mulla Sadra. Specifically, it investigates how the element of imagination in its philosophical sense manifests in Afsari’s images as a means of re-creating and embodying inner meanings.
The primary aim of this research is to explain the role of imagination as a mediator between sensory perception and internal meanings in the process of artistic creation. The central research question is: Based on Mulla Sadra’s philosophical framework, how can the role of imagination in the embodiment and re-creation of meaning in Afsari’s photography be interpreted?
This study is fundamental in nature and uses a descriptive-analytical method. The theoretical foundation is firmly grounded in Mulla Sadra’s metaphysical doctrines, particularly his views on perception, the soul, and imagination. The visual data for this study are drawn from three photographic series by Mehrdad Afsari. These series were selected based on their conceptual depth, symbolic complexity, and the central role of imagination in their composition.
According to Mulla Sadra, imagination is not a mere psychological function that fabricates unreal images. On the contrary, it is an ontologically significant faculty that mediates between the sensory and the intellectual. Imagination creates images that are not confined to the external world but emerge from within, carrying deeper existential significance. In this framework, the image becomes both a carrier of meaning and a veil that conceals it. The viewer must engage in a process of inner reflection to unveil the truth hidden within the image.
The study finds that Afsari’s photographs reflect this dual nature of the image. By blending real landscapes with abstract forms and minimalistic compositions, he creates a visual language that invites contemplation. These images often break away from conventional representation and move toward symbolic expression. Through techniques such as defamiliarization and visual abstraction, Afsari disrupts the viewer’s habitual perception and opens a space for philosophical inquiry.
In many of Afsari’s works, the natural environment is not depicted as a mere background or subject, but as a metaphorical space through which inner realities are expressed. The silence, emptiness, and ambiguity in his images reflect a deeper philosophical concern with the nature of existence, time, and memory. These are not simply visual records but metaphysical inquiries—each image functioning as a point of convergence between the visible and the invisible.
Mulla Sadra’s concept of the unity of existence and gradation of being further illuminate Afsari’s work. In Sadrian philosophy, all levels of existence are interconnected, and the soul ascends through stages of perception from sensation to imagination, and finally to intellect. Afsari’s photography can be seen as a visual enactment of this ascent. His images emerge from sensory experience but transcend it through imaginative reconstruction, revealing meanings that lie beyond the surface.
Ultimately, the study argues that Mehrdad Afsari’s photographic practice transcends the conventional boundaries of photography as a visual art. His work enters the realm of philosophical aesthetics, where imagination operates as the central faculty in accessing and expressing hidden truths. In this context, the photograph is no longer just a two-dimensional image but becomes a space of metaphysical encounter. The viewer is invited not only to see but to reflect, to read not only with the eyes but with the soul.
In conclusion, Afsari’s work exemplifies the integration of vision and thought, perception and imagination, form and meaning. Drawing on Mulla Sadra’s philosophy, this study shows how the image when guided by imagination can serve as a bridge between the external world and inner realities. Afsari’s photographs thus offer more than visual pleasure; they provide an opportunity for philosophical engagement and spiritual reflection, positioning the artist as both a creator of images and a seeker of truth.
Keywords: Contemporary Photography, Mulla Sadra, Element of Imagination, Mehrdad Afsari
کلیدواژهها [English]
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