جستجوی مقالات مرتبط با کلیدواژه « تناسبات طلایی » در نشریات گروه « هنر و معماری »

The use of proportions in Iranian architectural decorations has increased or decreased due to its application in architecture in different periods. The Safavid and Qajar mosques are among the well-proportioned buildings in Iran and the beauty of their decorations is further enhanced by the use of geometric proportions. In this research, the tiles of Sheikh Lotfollah and Seyed mosques in Isfahan have been examined and the question is what are the most widely used proportions used in the Shamseh patterns of these two mosques? What are the similarities and differences in their ratios? The purpose of this study is to achieve the amount and method of using golden and Iranian ratios in the Shamseh patterns of two buildings. The research method was descriptive-analytical and the data collection method was library and field investigation. The obtained results indicate that the ratios used in the Shamseh patterns of these two mosques are clearly different. Although golden and Iranian proportions have been used in Shamseh patterns of both mosques, but in Sheikh Lotfollah Mosque, the ratios between 1 and 2 are about 12% more than Seyyed Mosque. Also, the use of Iranian ratios √2 and √3 in Seyyed Mosque have been reduced by about 26% compared to Sheikh Lotfollah Mosque, which could be due to changes in the Qajar period and their effects on the art and architecture of that period, including the declining trend of geometry and Increasing new decorative species.

Problem statement:

The use of proportions derived from nature in vernacular architecture is one of the principles that govern the interactionsbetween the built environment and nature.The existence of the formal relationship between the built environment and nature can lead to optimization,order,and stability in the built environment.In fact,structures in nature have become stable over time in terms of form and combination and can create reproducible principles regarding the continuity and beauty of spaces.Nowadays,such principles have been neglected in the proportions and numeric relationships employed in the geometry of spaces.The sample of this study contains twenty-four traditional houses in the Qajar era in Ardabil because most of these buildings have been built in this period.

Research objective:

The present study aims to determine the compatibility of common geometric proportions used in the traditional houses of Ardabil with Iranian proportions,golden ratios, and approximate ratios derived from nature to identify the most common nature-friendly layout in the region.

Research method:

This study isapplied and mixed-methods research in which both quantitative and qualitative methodsare employed. First of all, the data related to the dimensions, sizes, and computational ratios were obtained via field observations. After that, the geometric proportions employed in halls, rooms, and main facades were identified using frequency diagrams. Then their compatibility with the proportions derived from nature was analyzedto determine which spatial ratios and standards derived from nature had the highest frequency in the buildings.

The results showed that the architecture of the traditional houses was consistent and compatible with nature in terms of formal characteristics.in addition to using Iranian proportions, golden proportionsin laying out the elements and architectural spaces from plans to façades,the architects of the buildings have also made use of ratios close to simple arithmetic proportions.This shows the relationship between the spatial patterns and the combination of data received from nature,which have been integrated intothe construction of the buildings.

Geometry is one of the most prominent aspects of Muslim art that has dominated all the works of influential Islamic artists. In other words, geometry in the thought of Islamic art is the door to the spiritual word from the material world. If we want to point out the importance and the role of geometry in art and architecture, we can state that geometry can be considered as an asset of the work, and its various creations can be easily understood by its definition and limitation. In other words, with the dominance of geometry on any structure, from the structures of a simple atom to the components of a work of art, architecture, and urban, we can see a single order in all dimensions. The order, which has always been disrupted by geo-disciplinary principles due to the neglect of many urban architects and designers, and has caused many problems at many levels of life. It is undoubtedly one of the most successful examples in which geometric principles are of great interest at all levels of art and architecture. The historic village of Abyaneh, located in the central part of Natanz, Isfahan province, has become nationally recorded as a valuable and historic monument. The level of utilization of the geometric principles in this village is such that if we want to look at all the structures of art in a superficial way, we can see the same footprint of homogeneous geometric designs used in all their structures and architecture; so, in this research, we are confronted with the question of which geometric patterns exist in the Abyaneh historical village? Are the same geometric patterns repeated throughout the artistic, architectural, decorative, apparel, musical, and texture structures? According to the content mentioned in the present article, to meet the main questions and achieve the research purpose, the data collection by the historical-interpretive method with the phenomenological approach and the analysis of information will be analytic and adaptive. Therefore, the main objective of this paper is to recognize the geometric language in Abyaneh architecture by understanding the geometric structures that exist in all the arts of Abyaneh village. The most important results of this research are the use of geometric patterns, golden proportions, golden rectangles, golden spirals, golden polygons, the series of Fibonacci numbers and Pimon, which is a quarry used in all artistic structures such as architecture, handicrafts, rugs, carpets, textiles, traditional music, rural structures, and the way buildings are erected in the context of the Abyaneh village. In other words, it can be pointed out that geometric patterns and golden proportions are the common language among all the arts in the Abyaneh historical village, which are used continuously in all architectural structures. In other words, the use of geometry in this historical village creates the same beautiful and coherent structures in small artistic scales such as artistic, musical, ornamentation, textiles, carpets, cloths or on larger scale such as the general form of buildings and the way buildings are erected in Abyaneh village.

The stucco decorations of Haftshouyeh altar are among the dominant altars in Ilkhani period in terms of patterns and forms. Most of the studies in the literature have been considered the date and the historical range of the work. The weakness of the previous works is that the metrics of decorative motifs, their proportions, structure and geometric relationships have not been considered. The contribution of this work is to answer the following questions: What are the types of motifs used in this altar? How the structure and proportions of this altar and its motifs are designed and implemented? The aim of this work is to describe and analyze the Haftshouyeh’s mosque altar in terms of plants and geometric motifs, proportions, structure and geometric relationships in a descriptive-analytic manner. The obtained results reveal that the patterns and stucco motifs have been implemented with thickness, prominent, complexity and various types of stucco. Various types of Aslymyha such as Khortumyha, Dhanhazhdary, Aslymyhay Framing and Art excursions (snail excursions) are used in this altar. The general form of the altar and its motifs are based on the golden ratio and the structure and geometric relationships. The high magnitude is a major characteristic of the altar. The motifs of the altar are unique in terms of visual and aesthetic values.

Foundation for Nature and the things that are in it has been established based on specific proportions. Human and this proportion have been discovered in the distant past. Master architect to transform the concept of geometry and its innovative use of space and form in the design process easier. And minimizes erosion of the concept in the process. The result of such a process, a kind of architecture that is far from the impression of taste, in terms of regularity and symmetry is understandable. Architectural design will be in the form of geometry. And the geometric thinking up in order to reveal the architectural design process. Geometry and Proportion are part of an unbreakable architecture. One of the most interesting geometric features many historic buildings, there is the golden proportions. However, many of the monuments in our country have not been examined so far in terms of geometry. Iran has always emphasized the beauty of architecture and building dimensions Iranians have tried to operate the cosmic reflection are manifested on the ground. Geometric analysis can be revealed through traditional structures. The different proportions, such as the golden ratio widely in Iranian architecture design plans, sections, geometric patterns and architectural, structural and mechanical features have been used. The results show that the geometry and proportions are many life forms found in nature. And to elaborate employed by traditional Iranian architecture to be built in a traditional architectural style; which implies the right and engineering design methodology is correct. In addition, the use of proportions because of visual beauty in the visual arts and architecture are of particular importance. And almost all works of art have been created by some kind of fit.

Numerous factors have influenced the way the architectural spaces in the Iranian miniature painting have been created. During the Timurid era, with the innovations of master Kamal al-Din Behzad, and employing all the visual basics, architectural spaces were given more attention and interest. In miniature paintings of master Behzad, certain principles dominated the scenery of spaces, and the architectural elements have had a special place according to these principles which are referred to as the “Golden Ratio”., the lines point to a specific part of the mosque’s construction process, and within one or two of these networks, each of the mosque’s spaces is located such as the single hole, the porch and the outer wall. Drawing lines based on the principle of “golden ratio” shows that Behzad has placed the image of consciousness with this element of the elements in a suitable place and has given his image a harmony. Due to lack of resources and researches done in accordance with the proportions and in painting, the authors need to study the studied image in a different perspective from the aesthetic aspect. The present study was conducted using a descriptive-analytical method and based on library studies, so that the relationship between the architecture of the mosque and the architectural spaces in painting can be found through the recognition of these proportions.