تحلیل مؤلفه‌های جاودانگی در هنرسنتی از دیدگاه کوماراسوامی

Abstract
Since long ago, man has longed for eternal life and cultivated the dream of being immortal in his mind and conscience. The origin of this concern it is in the love that man feels for immortality the depths of his soul. Belief in immortality plays a decisive and important role in man’s perception of life and its meaning. Observing the eternal visual order and stable symbolic manifestations is an objective sign of the stability of human determination and will in showing the infinite nature and eternal space, in his transitory encounter with the mortal and unstable material word. In the traditional world view, art is a path for human perfection and the artist’s creativity during divine creativity. Symbols are reflections of stability and durability in a world of change. Because ideas are eternal essences and are free from changes and transformations.Traditional art is associated with knowledge and reflects manifestations of the realm of god and higher and beyond worlds beyond the material world. Coomaraswamy, a sage, researcher and sage of the perennial philosophy school, in his works, explained and interpreted the eternal dimension of traditional art works and their symbolic meaning in accordance with the perennial philosophy. He considers the heavenly fundamentals of existence to be the field of all dynamic and living patterns and examples in the process of creating a work of art. In the other words, in his vision works of art according to perennial philosophy cannot be divided in two categories, functional and spiritual, but belong to both functional and semantic, natural and metaphysical words. He considers symbols to be the universal language of art, an international language, which differs only in tones and accents. He considers the condition of understanding the true meaning of symbols, which are not just verbal constructions, to study the extensive written works of nations that contain the description of symbols and to learn the basis of symbolic thought. The purpose of this research is analyzing opinions and inferring and explaining the components of eternity in traditional art from his point of view. The main question that this research seeks to answer is as follows: What are the eternal components in traditional art from Coomaraswamy’s point of view? the method of collecting information and data has been done through documentary and library based. Research in conventional academic categories is qualitative in terms of nature, fundamental and theoretical in terms of purpose, and descriptive and analytical in terms of tools. In the analysis, it has been tried not to deviate from the foundations of perennial philosophy. In further explanation, it should be added that the method of this research is to try to understand and sympathize with opinions and theories, and to avoid any introduction of prejudice, to collect concepts with the theme of eternity from coomaraswamy’s works and to compile and organize them based on the eternal philosophy. The study and review of historical works based on the university research method clearly showed the vacum and lack of extracting the elements and components of eternityfor traditional works of art. Therefore, the differences of this research compared to the background cases are the extraction , analysis and explanation of the mentioned components in the art tradition from the mentioned point of view and the discussion regarding the relationship of these indicators with the analysis of eternal symbolic features in the atr works. Therefore, the importance and necessity of doing this research is to enumerate the components of eternity, analyze, explain, clarify and regulate them. The results: according to the opinions and views mentioned, traditional art has eternal and timeless indicators and components arising from universal semantic and epistemological principles and foundations in connection with its symbolic nature. These components includes: The hierarchical and existential priority of intellectual knowledge(intuitive intellect in its platonic sense) over sensory knowledge in the path of perfection, obtaining meanings from the unseen world and its image in imagination, Creativity during divine creativity by adapting to divine attributes, the representing the eternal and continuous state of heavenly world(more expression of the representation of the relation of objects with God or their source), Applying the principle of unity in plurality, plurality in unity, Negation of individual and sensual expression and reference to the absolute and true self and the preference of the divine ego over the carnal ego and individuality of the artist, and Manifestation of absolute divine beauty in all beauties.