The Aesthetic Aspects Of The Body In Mystical Poetry And Its Relation to Iranian Painting

The mystic poets, by relying on their Verve, Ingenuity and Social taste, by using the method, theme and vocabulary (metaphors and similes) of the Love poems and also by interpreting in the religious tradition, have  put “worldly love or holy love” in their poems; They have described the beloved of their poetry figuratively and as “ideal-utopian human”: A exemplary Person with fixed components in its face and temperament, and the desire to join with this person is considered as a form of worship; The exemplary beloved in mystic literature has a dual presence: Sometimes as “the main subject of the poem” to express affective love -not sensual- for the beauties of the world as divine advent and sometimes as “allegorical intermediate” to create a grateful and adorable image of God. In both origins, “body of exemplary beloved” is a excellent instance of the inner and outward appearances of absolute essence, and the symbol for the realization of God. By comparing the aesthetic aspects of the “utopian body of the mystic poetry” and the “human motifs of painting”, and also by regarding to the continuous connection between the mystical tradition and Iranian painting (at least from the middle of the Timurid to the middle of the Safavid age), It can be understood these two bodies have been unique in their entirety and foundation. The purpose of the thesis is to explain the value of the body and the affirmative attitude towards its in the mystical literature, also describing the gradual reflection of the aesthetic components of the “utopian body of the mystical poem” in painting. This research uses descriptive-analytical method and utilizes library resources to explain the “origin and symbolic meanings of the body in the mystical literature” and by describing “transcendental area of persian painting” and “The influence of mystical tradition on Painters such as Behzad and Reza Abbasi”, reveals the relationship between “the body’s aesthetic aspects in mystic poetry and  paintings”. According to the result, mystical interpretations due to the addition of “symbolic meanings” to “the literary descriptions about the body”, gave more legitimacy to Iranian figurative painting, and accelerated the transfer of aesthetic aspects of the body from Love poem and social tastes to painting; also it caused the human motifs -in addition to find more details and correct proportions- guarantee the spirituality of tradition.