سوگردانی از ساحت صنعت به ساحت هنر؛ امکان نجات بخش زمانه ما از نگاه هیدگر مقالة

پدیدارشناسی هرمنوتیکی، از جریان‏ های پدیدارشناسی پساهوسرلی است که با مساعی مارتین هایدگر شکل گرفت و در آن، تمرکز از روی چگونگی قوام یافتن معنای جهان در آگاهی انسان (مسالۀ پدیدارشناسی کلاسیک) برداشته شده و به سوی رویکردی جهت آشکارگی جلوه‏ هایی از حقیقت وجود چرخش یافت. هایدگر در دورۀ دوم اندیشه ‏اش با به کار گرفتن رویکرد پدیدارشناسانۀ هرمنوتیکی در مورد آثار هنری، نقش هنر را در انکشاف حقیقت وجود مورد توجه قرار داده و در این راستا در کتاب سرآغاز کار هنری، خوانشی از نقاشیِ یک جفت کفش اثر ون‏گوگ ارایه داد. در مقالۀ حاضر رویکرد هایدگر برای خوانش نگاره‏ای ایرانی به نام «هفت‏واد»، متعلق به کتاب شاهنامۀ طهماسبی از مکتب نگارگری تبریز صفوی، الگو قرار گرفته تا با روشی تحلیلی-تطبیقی و با تمرکز بر تحلیل موقعیت دازاین به عنوان معیار کیفیت آشکارگی عالم، امکان گشایش وجوهی مغفول از وجود فراهم آورده شود. نتیجۀ کار هموار شدن راهی است برای پدیدارشناسی هرمنوتیکی آثار نقاشی در مقام عمل، با قابلیت بسط یافتن در دیگر آثار هنری، که در مورد نگارۀ هفت‏واد، فارغ از مقصود هنرمند و زمینۀ خلق اثر، در دو بخش روایت و اجزای تصویر به کار گرفته شده و منجر به ارایۀ تاویلی منحصر به فرد از وجود گشته است.

In The Question Concerning Technology, Heideggerconsiders the Ontical definitions of Technic - Technic asinstrrument or human activity - correct. But He believessuch definitions do not reveal the essence of Technic. Withan Ontological attitude, He views the Technic as a kind ofrevealing of Being , like the Art. However He believes UnlikeArt - that is a Poetical revealing-, Technic is a Gestell - Typerevealing. In this Treatis, Heidegger considers Gestell asdestining of revealing in our age and describes it’s dangerto us. Heidegger considers the most important dangerof Gestell to be The absolutism of revealing of Being byhuman as a result of that The original and fundamental wayof revealing, Poiesis, has been forgotten and even revealingitself has become impossible. In such a situation, man alsounderstands his essence only as a subject of domination andhe does not remember his true dignity, which is the refugeof Being in beings Thus Heidegger considers the mostserious danger of Gestell to be the damage to the originalityof Dasein, which is the refuge of Being in beings and hebelieves that Poiesis, or in other words, the essence of artin our time can not be realized . According to Heidegger,the human race of our time has two ways forward in theface of such a situation. Or surrender to what is destinedto the status quo; Or, by reflecting on the essence of whatis dangerous to him, finds a way out of this situation.It can be said that Heidegger make a difference betweenfate and destiny. He believes if the man of our age find outdanger of Gestell - which has caused the most damage toits human essence - he will turn toward Beinh. Reflectingon the essence of Technic will lead one to go beyond theOntical view of Technic, that is, to understand Technic asan efficient human product and see it as it really is. Thatis, to understand Technic as a form of revealing. In thiscase, by transcending the beings and being in the opennessof Being, - which Heidegger refers to as Turning -, Man'srelation to Being will change - from farness to nearnessand destining of revealing - from Gestell to Poiesis - willchange and consequently way out of Gestell’s danger willbe possible. In the sense that Being will be able to emergein a way other than Gestell. In fact, as a person turns aroundand settles in Being, his way of being will change - from adomineering presence to a poetic presence and the originalform of revealing, Poesis, will be possible. In other words, itcan be said that by Turning, a person connects with his trueself and his way of being will change from inauthenticity toauthenticity. In such a case, Gestell will not rule as the onlyway to revealing and so - despite the presence - will not bedangerous to humans.