Unveiling of the book “Committed Art” | Art emerges during the welfare of societies / Art can achieve a new Islamic civilization

Fars News Agency – Art Group: Book unveiling ceremony «Committed ArtWith the presence of the authors of the book and also Mohammad Ali Rajabi Davani, Mohammad Hossein Rajabi Davani and Mohammad Hadi Homayoun, university professors, was held yesterday (Monday, January 17) during a meeting at Fars News Agency.

The book “Committed Art; A Study of the Status, Status and Necessities of the Art of the Islamic Revolution ”has been published in 273 pages with 300 copies by Imam Hussein (AS) University Press and consists of two chapters, the first of which has 7 sections and the second chapter has 6 sections.

On the back cover of this book is: The artist has a commitment both to the form and format of his art and to the content. One who has an artistic talent should not be satisfied with a low level. This is a commitment. The lazy and uneducated artist, an artist who does not strive for the excellence of his artwork and creativity, has not in fact fulfilled his artistic responsibility for the mold … In addition, there is a commitment to the theme. What do we want to offer? If a person is honorable and dear, his heart, mind and thoughts are also honorable and honorable. Not everything can be given to the audience, just because he is sitting and listening to us. (Statements of the Supreme Leader of the Revolution in a group meeting of the people of culture and art 01/05/2001)

The details of this meeting follow.

* Mr. Rajabi Davani, as a painter who has also studied committed and sacred art, please tell us about the relationship between art and divinity and whether art can be mentioned?

Mohammad Ali Rajabi Davani: In Islamic culture, the Prophet (PBUH) used the term sacred art, then the infallibles. But we are unaware of the place of issuance of this sacred art. It is the place of export of the sacred art of God, and by its property it puts in the hands and tongue of an artist who wants to determine his relationship with the world.

This sacred art must have characteristics. In the Islamic world, they have not specified any obligation for science, art and science are not obligatory. We carelessly categorize it to define boundaries. The Arabs call art the “art” that governs its appearance, but we pay attention to the aspect of its sacred world, which is the order of the benevolent.

* You mean you believe that art can not be allocated?

Mohammad Ali Rajabi Davani: Art is not obligatory. The elders, when they talk about art, say that it is the artist’s responsibility, because art has no duty.

If someone says “Islamic art”, we call it for demarcation, otherwise art will not be deducted! Existence of art is not limited to the artist, it is art that gives identity to the artist. Only in the middle of this does the artist create the ability to be the place of entry and exit of this truth; that is, he is not the creator. Because creation is from non-existence and human nature is from non-existence. So art is innovation. If “novel” is one of the divine names and means to find the unseen. So art is not creation, it is innovation, and it has the potential to come out of the tongue and hand of the artist. As the Supreme Leader of the Revolution puts it: “The truth of art – any kind of art – is a divine gift.” The artist, meanwhile, is obliged to do good deeds.

In the introduction to the short article I wrote about Professor Farshchian, I looked at it from a sociological point of view, and from this point of view I dealt with the issue that he worked on a painting overnight in an unconscious position. In Iranian painting, when a tree is drawn, it is so accurate that even a biologist can talk about it. This is the difference between abstraction and abstraction. The painter, while accurately drawing the tree, has also placed the visible world in it, and the viewer remembers heaven by observing it. One cannot kill only the appearance, “face-opening” means that the artist sees the appearance with one eye and the inside with the other eye.

The calligraphy of the tongue of the hand and the tongue of the soul; ‌ comes out of the jar that is in it. The monotheistic believer frees his soul to place the Holy Spirit of art in him. Islamic art is neither so obvious as to be unattainable nor so obvious that everyone looks at the earth.

* Mr. Mohammad Hossein Rajabi Davani, considering your specialty which is the history of Islam, please tell us how Islam has faced art? Because in the contemporary era, some people from the fatwas of the jurists regarding the sanctity of sculpture have the impression that Islam is not good with middle art.

Mohammad Hossein Rajabi Davani: Islam is the promoter of art, God is beautiful and loves beauty. If we do not see anything in the field of art during the time of the Prophet and some time after that, it is because Islam emerged in a society that was culturally backward. They were accustomed to idolatry and, in addition to 360 idols, also had family and tribal idols. So at least they should have been at the forefront of sculpture, but the idol, for example, had not cut a black stone. Or they had idols of dates and ate them when there was a famine! In fact, art had no place among science like science among the Arabs of the peninsula. Because the conditions were not provided and even in the construction of the house, no delicacy was seen. History has it that only one pre-Islamic Arab nobleman traveled to Iran and spent a lot of money to take an Iranian to the peninsula and mirror his house.

Because idolatry has no place in the divine religions, whatever is carried to form a human form was rejected by the jurists, but the Shiites have a progressive view, and when they gain power, from the Buwayhid period to the Safavid and Qajar periods – which Due to political issues and the disintegration of the country, it is called the Black Age – we are witnessing a brilliant era in terms of art. Now we see in the system of Velayat-e-Faqih that making statues of elders is not only a problem that is also promoted. If art did not grow at one time, it was because of the prejudices of non-Shiite governments. We hope, God willing, to see the growth of art by solving the problems of the country today, because we have the leadership of the artist and the defender of art, because art usually arises in the welfare of societies.

Mohammad Ali Rajabi Davani: Art is very delicate and its problem is very difficult for the jurist.

* Mr. Homayoun! Mr. Rajabi Davani pointed to the role of art in growth. In your opinion, what is the place of art in civilization, especially non-Islamic civilization?

Mohammad Hadi Homayoun: Let me start with a quote. Hajj Mr. Poursaid-Aghaei, Secretary of the International Conference on the Doctrine of Mahdism, quoted that in the exhibition we held of books on Mahdism, we had placed a few art books in the corner of the exhibition. Interestingly, the Leader of the Revolution first visited art books. This shows the importance and status of art in leadership.

But in response to your question; No civilization in history has been formed without a foundation of science; Whether we have prophetic readings or Greek ones.
More importantly, science is not built in civilizations until it comes to the table of the people. If science does not become action for the world itself, it is a waste. It is the same for civilization and it falls to the ground. The fact is that after the scientific consolidation that we have in the Islamic civilization during the 6th and 7th centuries, the space is full of art and we have prominent architects and poets. And from there we got hit and the story of Sufism happened.

Art has come to sit at the table of the people. The art of his work is to bring the subtleties and aspects of heaven into human life, the work that the soul does with the angels and lowers them at night – the descent of the angels and the soul – if we seek the realization of a new Islamic civilization, we have no choice but to engage in art, art that Come to the people’s table. When this happens, it degrades from the sacred and our main obstacle in the stages of civilization of the Islamic Republic is that we distance ourselves from the lives of the people, so I distance myself from civilization. It is the same in the stages of travel, people like artists who pay attention to the higher worlds, neglect their daily life and the system of their daily life is disrupted, and this is reflected in their appearance – clothes, hair, etc. . The bodily resurrection reminds us that we are not a benevolent being between this world and the hereafter, but we must find enough breadth of existence to combine the two.

* If you agree, let’s look at the book itself. What motivated you to write it?

Mohammad Hussein Rajabi Davani: In Imam Hussein University, we have the Center for the Study of Hadith in the province, whose task is to study, analyze and provide guidance on the orders of the Supreme Leader of the Revolution. This center is in contact with talented people and talented youth. The present book is also based on the ideas of the Supreme Leader of the Revolution by Mr. Johari and Mr. Aghadadi. We know that the leader of the revolution is a theorist in the field of humanities and arts, and if his keywords are followed with faith, it will be really helpful.

Meysam Aghadadi, author of the book: The spark for writing this book started when I was a student. The leader of the revolution is a multi-dimensional figure, and in the field of art there was a need to compile a book about their statements. Of course, some booklets have been published as a single lecture, but while we were compiling the book, we did not see a comprehensive book and the motivation for writing the book became. Of course, because the Office for the Preservation and Publication of Ayatollah Khamenei’s works is sensitive to the distortion of his statements, the evaluation of the book took a year.

Mohsen Johari, author of the book: We suffer from serious poverty in order to benefit from thinkers. This poverty increases when the artistic perspective is close to the field of policy making. In the field of cultural thought, where the subject of art sits well in the heart and organic composition occurs, we have a challenge. During my student years, I came to the conclusion that the leader of the revolution really has a coherent cultural vision, and this is not a compliment, but unfortunately his character has been reduced to a political position. But his personality as a cultural and artistic theorist should not be overlooked. They provide clues, and refining this theory and packing it in the form of work that can be presented in seminary and university assemblies requires expert work. So we have methodological weaknesses and challenges.

In the history of Shiite jurisprudence, it is rare for a Shiite authority to devote 76 sessions abroad to the subject of Ghana and music. They have a detailed thematics in the field of music. Our aim in this book was not to present the cultural theory of the leader of the revolution. We tried to classify the issues along with the analysis. It’s short, but it’s good clues that can be reprocessed later. God willing, we will bring this to a point in our doctoral dissertation.

There is a fear that we will get formalized and content in the category of art, but if we accept the theoretical basis of leadership, this commitment will remain safe in the balance between these two categories.

Homayoun: Introduction of the book, although it is in the name of the servant, but Mr. Johari took the trouble to write it, that is, they wrote the sermons of the servant.

Ghahri, in charge of Imam Hussein University Press (AS): Despite the concerns about the paper debate, University Press publishes about 100 research books every year. In the field of distribution and introduction, we also try to support the authors. The book “Committed Art” is one of these works, which has been completed by the Province Hadith Center, one of the leading centers in Imam Hussein University.

* A study conducted over the past year on the works of the country’s main publishers shows that if until yesterday they focused on poetry and novels, now their focus is on art theory books. On the other hand, on the revolutionary front, we lack resources on theories of art. In this respect, the publication of the book “Committed Art” is excellent, but we must try to improve it. One of the drawbacks of the book at first glance is its shape, which has the form of a dissertation. We have to compile and design the book in such a way that it goes behind the shop window and is not labeled a government. Even better layout can help. When we move away from the form of the book and enter into its structural issues, it seems necessary to have an art research expert with the authors of the book. God willing, this shortcoming will be eliminated in the next edition.

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