hossein mehrpouya

The need to pay attention to the recognition and details of the buildings from various climatic, form and historical-evolutionary aspects is not hidden from any researcher. Understanding the architecture of buildings can help the development of urban spaces and its sustainable evolution. In Zahedan, due to its geographical and climatic location, special buildings with climatic characteristics were built in the second Pahlavi period, and the capital of these buildings is one of their most important features. In this article, the aim is to recognize the recess of the Pahlavi buildings in Zahedan city. The research method is descriptive-analytical and quantitative-qualitative. Data collection in the first stage is through content analysis method based on images and researcher observations of 19 buildings in the city. Out of 19 buildings in the central and old neighborhoods of this city, 8 buildings were analyzed in the secondary monitoring. In the second stage, building features were prioritized through a questionnaire tool and using AHP method. The number of experts to weigh the criteria was 10 people. The result of the research shows that the architectural style of the 8 buildings studied is the traditional architectural style. Examining the facades of the buildings shows that out of the 8 buildings, 6 buildings have recess, which were built with brick materials in a simple way and without side decorations. Therefore, the predominant type of buildings at the entrance of Zahedan city is of traditional architecture and in a simple way and decorations are also based on bricks.

Kormanj and Turkmen are two major ethnic groups in the geography of Iran. Due to the distribution of these tribes in geographical areas, they behold their own culture and cultural elements. The housing of these communities bestows specific coordinates and features. Subsequently, the construction of a house and its body and spatial order is strongly influenced by the environment and culture to which it belongs, reading and analyzing the structure and body of the architecture of houses based on the needs and culture of the indigenous people that construct that community can aid designers and assisted planners in achieving the pattern of housing structure in that border and climate. This research is theoretically applied in terms of type of purpose and in terms of method combined with a descriptive and analytic outlook. Results indicate that in the old houses of Kormanj tribes, the role of privacy and gender characteristics in the separation of spaces and boundaries are more noticeable than the houses of Turkmen tribes. Features such as privacy, gender roles, the structure of family relationships and social relations and lifestyle are among the cultural features that have played a significant role in the formation of settlements in Kormanj and Turkmen.

Comparative study of cultural factors of Kormanj and Turkmen ethnic groups in shaping the architecture of settlements in Bojnourd city of North Khorasan province.
Recognizing the priority in physical and spatial elements in the architecture of Kormanj and Turkmen ethnic groups.

Which cultural factors in Kormanj and Turkmen ethnic groups are influential in shaping the architecture of settlements in Bojnourd city of North Khorasan province?
Which cultural factors in Kormanj and Turkmen ethnic groups have the greatest impact on the physical and spatial elements of houses in these two ethnic groups and in this region, respectively?

The architecture of the houses of Qaleno village in Sistan has responded to the slope of the village as well as taken into account the climate and culture consideration. The main question of this research is whether introversion is only for adaptation to climate or in addition to environmental force, cultural factors are involved. The main purpose of this study is to carry out a spatial analysis of indigenous architecture to show the components of introversion in Qaleno village. This research has a fundamental nature and applies a qualitative method to address the issue with a descriptive-interpretive approach. There are eight types of housing in Qaleno village, and they all have the element of Miansara (courtyard) in common. After introducing and analyzing the elements and components of the houses, the spatial arrangement of the houses has been investigated by using graphs to show how the spaces are organized and how they relate to each other. Due to the linearity and normal distribution of statistical data, the Pearson correlation coefficient was used to analyze them. The value of the obtained coefficient in two cases indicates that in the first case, introversion correlates with the number of Miansaras; and in the second case, introversion correlates with the number of spaces. Moreover, the studies showed that Qaleno houses have no windows towards the public space, and they are substituted with Koulak and Sourak, which also act as blinds. In addition, elements such as Hashti and Kham are used to divide the exterior and the interior. Miansaras are the major elements of the houses to the extent that some houses have up to five Miansaras, which are connected to every room by windows and doors. The results of this study show that the indigenous architecture of Qaleno village is influenced more by cultural factors rather than climatic ones and is different from the architecture of other areas because of the slope and the number of Miansaras it has.

In different periods of history, tribal, ethnic, climatic, religious, etc. cultural characteristics have had an impact on the design of the architectural body. Differences in the cultural characteristics of different climates have led to the emergence of distinct shapes in living spaces and the shape of habitats. The purpose of this study is to investigate the role of culture in the design of the architectural body in North Khorasan, Bojnourd city. Since the residents of this province and city are composed of different ethnicities, we selected two Turkmen and Kermanj ethnic groups and put the studies and studies done by focusing on these two ethnic groups, which constitute the majority of the residents of this city. In order to achieve this goal, three basic questions are raised: 1- What is the role of culture in the type of architectural body of North Khorasan province? 2- What is the most important cultural indicator influencing the form of cultural settlements in North Khorasan? 3- What is the most influential space of culture in architecture? Following the answers to the above questions, he studied systematic and systematic documents and then conducted a semi-structured interview with several elites in the relevant field. The results show cultural characteristics such as representation of relationships and gender roles, privacy and Privacy based on gender culture, individual and social ties have had the greatest impact on North Khorasan's colonial body. Based on the above cultural features, the architectural body between these two ethnic groups is classified into two types of introverted and extroverted architecture. Introverted architecture with an emphasis on the separation of public and private arenas among Kermanshah and extroverted architecture with an emphasis on the integration of public and private arenas among Turkmens.

Given its rich cultural dimension and influence over other arts, including painting, Iranian literature is one of the most distinctive contexts in the field of comparative literature. This field can explore the relationship between poetry and painting from two aspects: First, how an identical concept is manifested in both written and visual arts and, second, how written art or poetry could affect visual arts or painting. Ferdowsi’s Shahnameh is one of the cultural, mythological texts which goes beyond its initial coding system, becomes present in various epistemological and artistic realms, and affects them. One of the important themes in Iranian painting is the battle betweenDiv (Demon) and human beings. The present paper intends to investigate the form of Div in the painting schools of the Ilkhanid period to the end of the Qajar period and the reasons for differences in portraying it based on Paul Ricoeur’s theory. This study seeks to provide some answers to the following questions: 1) What are the formal characteristics and distinctive features of the image of Div in the different painting Schools between the Ilkhanid and the late Qajar periods? 2) How could the differences between the images of Div in the painting schools of the mentioned time interval be explained? The results of the study indicate that the images of Div in the paintings of this period have been drawn with animal features in the body of human beings. On the other hand, the existing differences in this regard originate initially in the metaphorical aspects of Shahnameh and then in the personal perception of painters and their understanding of the text, the artistic taste of their period and the school in which they have been trained, and the social, cultural, political, and gnostic conditions and necessities of their time. This study has been conducted following the descriptiveanalytic, comparative, and library methods.

The confrontation between good and evil forces, the division of the world into two realms of light and darkness, and the belief in the permanent quarrel between Ahoorian and Devilish phenomena, is a common belief among all folks and nations, a struggle that continues till the world is set up, and the ultimate victory belongs to the light front. Demons, who are the inhabitants of the darkness, are abnormal, black creatures with long, hog-like teeth, thick and black lips, and occasionally blue eyes. The body of these cannibals is covered with thick hair and they have several heads, horns, tails and large ears with a pair of wings. Demons are one of the most devilish creations in Iranian mythology, whose main goal is to eliminate Ahoorian creatures. Ferdowsi has shown this idea in his Shahnameh; it is even seen in the epic poems afterward. Meanwhile, Demons, which represents the devil and enemy, is shown as naked animal figures with horns and tail, possessing primitive weapons. The painters have somehow emphasized the superiority of the creation of the goddess against devilish creation by displaying these features. The main goal of the research is to study the role of the Demons in Ilkhani and Timurid eras (Herat and Shiraz) and their differences in their images. The main questions of this research are: 1. what are the characteristics of Demons in the paintings of the Ilkhani and Timurid eras? 2. How can the difference between the face of the Demons in Ilkhani and Timurid periods be explained? The results of the study showed that in the painting of this era, Demons are depicted with the animal nature in the shape of human body. On the other hand, the difference in the shapes of Demons in these schools is first drawn from the metaphorical aspect of Shahnameh, and then the personal perception of the painter and his interpretation of the text, the artistic style of his era, the cultural conditions and the school in which he grew. This research has been accomplished by a descriptive-analytical and comparative method, based on library studies.

Bahram is one of the most important Zoroastrian deities, which is remembered as the angel of triumph and victoryin mythology. His name in Avesta is verethraghen that is changed form of vritrahan. Vritrahan means dragon killer.He was also named as one of the reputed and justice Wide Sassanid kings. This king is called as Bahram-e Gur. Beautiful and wonderful stories of Bahram-e Gur in Shahnameh and Haft- peykar are favored by artists, So that in many of Iran,s artistic works we can see their designs and pictures. In every period illustrating Of Bahram-e Gur,s stories has been changed according to the features of that period. This can be understood by studying his clothing, crown and figure. In these works, we can see Iranian art evolution and change in artist,s tastes and moods. This paper tries to search image works related to Bahram-e Gur, and compare Structural changes and aesthetic aspects and also the issues and characteristics of these worksworks to be. Research method of this paper is analytic & descriptive and Content is gathered by way of the library method.