چکیده:
Nowadays dealing with theorization is the most necessary aspect of art discussions, something that doesn’t have a long history in our culture. Our art has declined since late Safavid, and the causes have several inner and outer relations to art. Lack of creativity is the most important inner cause. This is why theorizing about creativity is necessary. This essay is based on the mythology of Gilbert Durand. Mythanalyse is chosen as method and works of Sohrevardi as case study. The results show that the source of creativity is truth; the artist surges strongly in perceptual levels that he reaches to rational perception and understanding the truth, so with the help of this he is capable of creativity. Beauty is the glory of truth, as according to Sohrevardi beauty and perfection are the same and creativity, the result of perfection, if get in to action properly the result will be beauty.
خلاصه ماشینی:
Among Durand's important works, one can mention cases such as The Knowledge of Human Cognition and Tradition, The New Spirit of Anthropology, Symbolic Imagination, Anthropological Structures of Imagination, Introduction to General Archetypology, Mythical Forms and Images of the Work, from Mythometry to Mythanalysis and Myth-methodology.
12 In short, reflections acquire an abstract form and turn into a latent power so that a person, by connecting them, extracts them from their immediate form and, through their accumulation, provides a force for their execution; forces are transformed into images in the mind that possess a universal and eternal aspect and are called archetypes; archetypes find realization in a specific time and place, become cultural, and shape symbols; and symbols become narrative and lay the foundation for myths.
5 Mythanalyse in Suhrawardi's Symbolic Treatises Now mythanalyse can be considered a method that, by identifying the smallest meaningful mythical units in a work of art, examining the relationships between them along with all social texts, and in this way, examining the context composed of all texts effective in the creation and even the reading of the work, reaches a grand myth that has been in connection with the personal existence of the artist and provides the ground for the analysis of the work and its significance.
All this means that, according to the myth-analysis of the era, by focusing on the shared socio-cultural imagination among them, the socio-mythological context of Islamic Iran in the aforementioned time period can essentially be considered based on the grand narrative in question.
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