Plato and immoral art?! آفلاطون و لا أخلاقية الفنون المقلدة ؟؟!

The famous philosopher or philosopher of Plato was one of the first ideal philosophers. Plato lived for many years and was his student. He traveled around the world and learned a lot in Egypt and India unlike Aristotle who only went to Egypt. Plato developed many great philosophical ideas, most notably the idea of ​​a "world of ideals". The world of ideals is a world in which total perceptions exist, such as the perception of the "cup" or the perception of "circle", "triangle" and so on. What is the overall picture? The overall perception of the perception can not be effectively reflected in the real world. Valkop is in fact partial biased. There is actually this "cup," "cup," "tree," and "tree." But the overall perception of the tree is in the world of ideals, where the "idea" is the full tree we imagine when one tells us about trees in general. This is Plato's idealist philosophy which sees that everything is partial in the real world of a holistic conception in the world of ideals. Plato insisted on learning mathematics and on understanding macro-concepts. Plato created his famous academy where he tried to teach his pupils a mathematical perfection approach instead of allowing the partial to capture their perceptions and distance them from example and perfection.

After this simple introduction to Plato's philosophy we can talk about the influence of the theory of the world of ideals on art and beauty. From the perspective of Plato and since the world of ideals contains the ideal image is necessarily the picture that is the real picture of the thing.Because the example of the perfection of reality. Its totality is higher than the fluctuating reality changes that are needed and are differentiated by different factors. The ideal of these ideas in the world of ideals can not be copied in reality. Just perfect in the world of ideals, our material world is biased and imperfect. It can not copy the perfection of the triangle with equal columns, circle, or the ideal picture of the table or cup.

From this Plato began to tell us that there are types of art: practical art useful, and counterfeit art is not useful but serious and must be careful. It is logical for us to analyze and evaluate the practical pieces of art or practical technical practices. When the carpenter imagines the table and actually recreates that table image, he tries with every effort to make it a fine workmanship that can be evaluated in practice and thus useful. When a carpenter makes a table, he tests it against many real factors (endurance, balance, size, and weight) so it is possible for the average person to assess the validity and efficiency of that table with a complete objective rationality.

What about the artist imitator? As a painter, actor, or poet at times? The carpenter imitates the "reality" of the table in the world of ideals (in his imagination). This is the first step in imitation and the first step away from the original. The imitator takes another step away from reality when he copies the table from reality to a painting that can not be evaluated in practice. The table here moves away from the practical evaluation of the server to the benefit, to the aesthetic assessment that does not serve the general interest but is restricted to the opinion of a particular person. Art is necessarily imitating biased reality, not the ideal in the world of ideals. Thus, according to Plato, the artist moves away from the whole truth abstract and objective two degrees, and in this double deception.

Why deception? Does Plato warn us here of the dangers of propaganda and intellectual invasion? The answer is definitely yes. Plato noted the fluctuation of Greek youth in what is being shown in Greek theaters. The plays were soul-stirring, passionate, and gilded to the mind of every adult. Plato insisted that the dramas magnify the contradictions between the characters, and make them compete on stage in an exaggerated manner. The result is a show of emotions that we often hide from the general public. Emotional exaggerations on the stage affect the audience, which in turn may act in an exaggerated manner as well. The audience, for example, was so agitated that some actors killed some of them, or slaughtered animals in public for entertainment. The imitator does not have any knowledge of what his art may contain, because he does what the audience only wants (or what the listeners ask). Or, as Socrates said, despite his ignorance of morality and his non-original tradition of truth, he continues to be made, because whatever he imitates is admired by the ignorant public.

The summary of the speech on this subject shows us the love of Plato and his mentor Socrates of rationality and objectivity not affected by the signs and emotions. The art of Plato affects our feelings and thus obscures the real social communication methods that will commit to rational political understanding, not emotional. Art inspires us when it highlights and exaggerates contradictions, especially on stage, to satisfy a thrilling audience for everything that is exciting. The artist imitates the biased reality, and does not depict the perfection or abstract example in an original way and in this deceit makes us believe the truth of the worshiping artist, not the total or ideal truth in the world of ideals. The poet / painter / writer / skilled actor may convince me of the love of a criminal, of a friendly man, to belittle a human being, or to admire an attractive heroine. As the Messenger of Allaah (peace and blessings of Allaah be upon him) said of Ibn 'Umar (may Allaah be pleased with him): "It is from the statement to the Sahrah." Narrated by al-Bukhaari.

Thus we may understand the wisdom of not drawing prophets in Islam, or not drawing souls. In the drawing of souls is an embodiment of its perfection and its example and in the case of human beings simplify their complex essence (their spirit). When we study the history of Christian art we see that painters and their emotions have changed the shape of our Lord Jesus many times. His face turned from a black beard or a man from the Middle East to the rosy and peck of the European man. Art obsessed with drawing and coloring is an integral part of the emotional palette of Christianity. A panel embodied in our Lord Christ in cases of torment and sacrifice confirmed the idea of ​​tathlith, and embodied what was not possible to embody its complexity and dimension
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