The manifestation of the Aesthetics and Artistic Embodiments According to the Illumination Philosophy of Suhrawardi

The importance of the ontological and epistemological aspect of aesthetics as a concept and an aesthetic embodiment of it has laid down foundations for philosophical deliberations. From Socratic deliberations to the 18th century aesthetic formations, despite the changes in their achievements and the different attitudes toward them, a philosophical background has appeared in art theorization as an object of knowledge. Here the most philosophical attitude to abstract the aesthetic and artistic theories from philosophic texts and their categorization is the reconstructing and perusing of those theories according to the whole and integrated body of the texts and the inferring of the details from the above-mentioned philosopher’s general viewpoints.
The present essay intends ,through the explanation of the aesthetic aspects of the works and the general viewpoints of Shahabaddin Suhrawardi with the consideration of his works’ structures and their general formations along with his imagining of the Visionary Worlds and the Hanging Images , to indicate the fact that the hierarchical formation of those worlds , their relation and affinity to one another, the explanation of the Illumination (ishraqi) Doubting Knowledge to perceive its pertaining truths and facts are all of an aesthetic formation and an artistic facet. The clarification of the philosophical basics of the art and aesthetics included in the illumination (ishraqi) philosophy and the integrating categorization of the features of each one of them is another goal pursued in this study.