جستجوی مقالات مرتبط با کلیدواژه "محراب" در نشریات گروه "علوم انسانی"

During the Ilkhanid period, after Ghazan Khan converted to Islam, the construction of mosques and paying attention to the decoration of mosques became very important, and it was considered alongside other political efforts to legitimize the Mongols. Establishing legitimacy and popularity among the people does not always happen with the sword and military power and can be achieved with ideological mechanisms. Foucault believes that power influences a network of complex relationships, determines the structure of society, and legitimizes it. He believes that where there is power, there is also resistance. During the Ilkhanid period, Iranian identity was contrasted with Mongolian and non-Iranian identities, and the religion of Islam became important as the main source of legitimizing the identity of the Mongols. As mosque construction continued, paying attention to special altars with specific verses was on the agenda of the government, artists, and founders. The purpose of this research is to examine the discourse of power in the Ilkhanate period and to reveal the motives of the Ilkhan rulers to build special altars with specific verses. This research is in search of an answer to the question: How did the motivations of power among the Ilkhan rulers help to create special altars with specific verses? The research method in this research is descriptive-analytical, and with the philosophical approach of discourse analysis, it examines the verses of the inscriptions on the altars of the Ilkhanid period. The results show that in the construction of patriarchal altars, certain verses with political meanings and themes favored by the patriarchs were involved, and the patriarchs pursued specific political goals through the construction of these altars.

The city of Tabriz, a significant city with valuable monuments and historical sites, has had a major impact on the preservation and continuity of Iran’s historical and cultural richness. It possesses numerous archetypes. One is the Grand Mosque of Tabriz, with its historical Miḥrāb and valuable ornaments dating back to the Ilkhanate era. This article investigates the patterns and inscriptions on this historical site in order to re-interpret the existing archetypes with the aim of using them as tools for connecting future social groups. After conducting a study of library resources and field research (especially photography using the descriptive-analytical method) the archetypes observed in the Miḥrāb decorations were classified into seven categories according to the painter, visual aspects, concepts, etc. The seven categories include: Humanistic, natural, situational, numerical, geometric, corporeal, and animalistic archetypes. The information was recorded in charts and analyzed accordingly. Among the geometric mandala and spiral archetypes, numerous types of patterns were used, making it impossible to count the number of repetitions for each type. In addition, the archetypes of tree and heaven are entwined within the entire Miḥrāb design, considering botanical patterns as well.

From the point of view of the author of the book, imposing the concept of the origin of the construction of Islamic mosques and its components such as altar, pulpit, dome, minaret, etc. originates from Christianity. With giving examples for each part of the elements of mosques, he first tried to compare it with Greek-Roman and Christian temples and churches and say that it originated from there. His main goal in this book is to believe that the origin of Islamic architecture is Christianity, and to achieve this goal, the author has ignored many facts of Muslim mosques. His major goal is to highlight the performance of the main types of Islamic construction in the medieval society, which led to the creation of those buildings. Therefore, examining the content and structure of the mentioned book can solve some of the unsolved problems in it.

Candelabrum is a tool for creating lightness which was used widely in Islamic art and architecture. One of the most important usages of candelabrum has been hanging in religious place such as mosque and tombs, especially in their altars. Representation of candelabrum in altars according to importance of it in Islamic architecture increases the knowledge about imagination behind using candelabrum in altars. Since candelabrum has lost its usage due to modern luminosity facilities, representation of its role in altars, explain the relation between altar and candelabrum and also importance of this chandelier as a custom symbol. This paper aims to recognize symbolic meanings of candelabrum with descriptive-analytic method and answers this question: why candelabrum has been represented in altar and using of it in altars was based on which symbolic component? Papers findings according to altars ancient background in ancient Iran temples shows altar was a place for manifestations and signs of light like the place of goddess in altar and custom fire in fire temple. Candelabrum in Islamic altars reminds the customs before Islam and correlation between concept and application in ancient Iran which commix with Islamic philosophy, specially light and caused candelabrum to be a manifestation of divine light and symbolic light in altars, according to Islamic values.

In times when mystical thoughts were more widespread in society, we can see material evidence of mystical attitudes in addition to literary mystical texts that were written in abundance. Among this evidence are the inscriptions engraved on historical works and buildings. Among the most important platforms on which religious ideas and beliefs are depicted are altars and tombstones, which have the most to do with people's spiritual beliefs. In order to express mystical thoughts, the word "la" is written on these works in a special and impressive way, in most cases without any connection with the main inscription of the work. One of the reasons for this, besides the visual structure of this word, is its mystical meaning. The present study tries to answer the question why "on the inscriptions of most tombstones and altars of the Islamic Middle Ages the word "La" (no) is written, although it does not appear in the text of the verse or hadith? the prevailing assumption is that, according to the testimony of historical literary texts, this word is a mystical substitute for the monotheistic phrase "There is no god but God" and played a role in the past ages with the aim of representing mystical and monotheistic thought in the works that had the most spiritual connection with people

One of the most important identity and cultural assets of the Baluch people, and one of the most well-known areas susceptible to study and analysis in anthropology and the anthropological approach to art, is carpets. Accordingly, presenting their altar rugs as artistic identities and visual examples of the weaving system, as well as recognizing and understanding the cultural significance of rug designs and motifs from the perspective of the creator of these designs and their connection with objects such as culture, myths, beliefs, customs that the anthropology of art refers to, is the purpose of this research. At the same time, the content of the rugs finds meaning and significance based on the understanding, thought and belief of their weavers. Therefore, the main question is: what are the characteristics of Baluch altar rugs from the perspective of the anthropology of art, and how can we understand the meaning and beauty of the designs of these rugs through this perspective and cultural context? Some research findings are as follows: These carpets have a functional, symbolic and decorative capacity in cognitive functional hours. In the semantic dimension, the representations of the motifs are in a non-iconic way (of course, based on references to the past and external examples) and concepts and motifs such as the altar (gate and gate of heaven), the tree of life (symbol of immortality and resurrection) and the peacock, It has added the quality of this dimension as much as possible. In the aesthetic part, the weaver has given a special personality to the space of the rugs, using the geometric (abstract) style and creating abstract patterns with warm and dark colors. This research is of qualitative and basic type and the descriptive-analytical research method and the data collection method is the library.

Although in Islamic sources, there is no order regarding the construction of the Mihrab and minaret of mosques, why are these two phenomena included in the architecture of Muslim places of worship? In this article, in a library method, followings are discussed: - How the Mihrab and minaret entered the architecture of the first century Islamic mosques? -  The hypothesis that the Mihrab and minaret are derived from the religion of ancient Iran, the people of the Arabian Peninsula and the temples of Jews and Christians. Historical studies show that in the first century of Islam, these two sections(Mihrab and minaret) were added to the architecture of mosques and Grand mosques: Palestine, Kufa, Medina, Damascus, Qairwan and Fustat in the first century had arched Mihrab and Grand mosques: Basra, Fustat, Damascus, Medina, Qasba in Palestine and Qairwan in the first century had minarets. In the past, minarets were made in rectangles, spirals and cylinders shape, and the materials used in them varied in climatic conditions and architectural culture of the regions, and then the minarets became taller and narrower and lost their use as a minaret.

Although Kashan was one of the main centers of lusterware production in the Islamic world during the Ilkhanid period, from the middle of the fourteenth century this industry declined in the city. Afterwards, at the end of the fifteenth century, once again, we witness the prevalence of making luster tiles in Kashan, but with different forms and contents. This article introduces 15 tiles which were produced between the years 1478 and 1560. These tiles were generally in the form of inscribed tablets with such functions as tombstone and mihrab, and were installed on the walls of religious buildings such as mosques and shrines. This paper, besides introducing two unknown luster tiles, surveys the content of all the known samples. It also tries to determine the difference between the luster tiles of this period and the Ilkhanid samples in terms of form, use, and content. Moreover, the relationship between the content of these tiles and the religious beliefs of the Iranian people at the beginning of the Safavid era has been addressed. The results show that in contrast to the Ilkhanid samples in which Quranic phrases constitute the main content, the luster tiles of this era are influenced by Shiite beliefs.

Mihrab existed before Islam. This word became one of the main components of Islamic mosques after the Islamic conquest. Structure and function changes of Mihrab during these two periods could be considered in various methods. Considering conceptual changes is one of the historical studies methods. This article aims to investigate a part of conceptual changes that reflects Mihrab’s structural and functional changes over time through collecting Islamic sources data such as dictionaries, interpretive texts, geographical and historical sources of the third and fourth centuries AH in which this word has been used many times.In this research, the method of studying time passage (historical semantics) has been used that study semantic changes in four types of narrowing, widening, degeneration and elevation. Using this method in studying semantic changes of the word Miharb in texts indicates that this word  has changed semantically from implication of the whole to implication of the component, from general meaning to specific meaning (semantic allocation),  and also from secular meaning to merely religious one (semantic promotion).

The Mihrab of Kahsan’s Jami’ mosque is one of the most important stucco Mihrabs of Islamic Period which has had an important place in the history of Islamic art of stucco designs and the evolution of the jami’ itself. Yet, despite this historical significance, no comprehensive study of this Mihrab has been done and this is maybe because of the desolate condition of the Mihrab in the recent decades. Therefore, this paper’s objective is to present a detailed description of this Mihrab and then, according to decorative and structural features, to determine its place among all Islamic Mihrabs. To reach this objective, a descriptive-analytic approach has been used. At the end, the problem of dating this Mihrab has been discussed.
According to available evidence, it can be concluded that the Mihrab of Kashan’s Jami’ is one the important stucco Mihrabs of the Islamic period and the only reasonable time for its construction is the period between sixth and eighth centuries AH.

There are two methods studying the Islamic art; of them is to study the Islamic art and its elements, in certain point of view. In the first method (Traditionalism) is to emphasize on ultra-temporal truths (Islamic principles). This approach believes that Islamic works reflects these truths. Titus Bokhart, Seyyed Hussein Nasr and Rene Genon are the most famous and best known thinkers of traditionalism thought. Second method (historicism), instead of exclusive emphasize on the Islamic principles, emphasizing on different factors such as geographical, cultural and international. This approach believes that art in the Islamic lands, on the basis of theirs environmental and cultural conditions has been established in various forms. Grabar, Ethinghausen, Terry Allen are the most famous and best known Historicism scholars. In this essay, we want to deal with the evaluation of two interpretations on Mihrab, as one of the mosque elements. Historicism Method justifies and explains the Mihrab by Historic, Geographic and social information and by this way points to Islamic artists recourses to other artistic and religious traditions. In this approach Mihrab is originally not an Islamic element, and its function merely was royal and regal. In contrast, traditional approach emphasizing the ultra-temporal truths in art, believes that sometimes Mihrab was the symbol of gate and entrance of paradise, sometimes was the symbol of Ka’ba, sometimes was the symbol of war and Jihad location (Crusade). We should be careful that the symbol for the traditionalism has special meaning. In fact, for them all of existential forms in universe (cosmos) are the forms that point to divine truths and meaning. So Islamic artworks which created in this tradition all are full of symbolic expression of these truths. In the traditionalism method symbol is not conventional, and is not human thing, but it has ontological aspect and it is context for presentation of meaning and truths running in all parts of universe. In this perspective Mihrab as the one of the mosque elements has symbolical relation with Ka’ba, Mohammedan truth and revelation of existence. Traditionalisms unlike what historicists think, did not deny influence of other cultures and traditions upon Islamic art, but they believe that there is a mysterious relation between Mihrab and all religions. We should remember that in the method of historicism, although Mihrab be meaningful for the Muslims, but we cannot interpret it as symbol. Because Mihrab has not any Islamic acquaintance. It is seems that historicism view about Mihrab can be based upon this unsaid but admitted presupposition that if we cannot find any document directly about certain subject, we cannot call it Islamic feature. By this belief, they believe that the Islamic thought cannot accept any aesthetic theory. Believing in traditionalism only, we neglect sentimental and emotional drives and miss historical and social information. In fact from the historicism point of view, Mihrab is not especial to Muslims mosque. There is no essentiality for its existence. Mihrab has not any peculiar position in the Islamic mosque and there is no any explicit text which point to Mihrab in the text of Holy Groan. Historicists believe that only Ka’ba and sacred sanctum mentioned in Holy Groan. Even if we accept that calling Islamic mosques which made in Islamic lands, we can only present Mihrab as the displayer of Qeble (side of Ka’ba which Muslims prayed toward that) .By believing Historicism only, we neglect some ultra-temporal facts. We should not neglect that logically believing in tow approach (traditionalism and historicism) at the same time is not paradoxical. So believing to them is possible in the investigation of artistic subjects such as Mihrab; i.e., in the study and investigation of topics such as Mihrab, we can appeal to historical, empirical informations and artist believes, phenomenological and symbolical elements.

Mehrab as a valuable element in religious buildings is always located in the spotlight of decorative arts. At every stage of Islamic the period, artists used the best decorative elements like plasterwork, brickwork, tile work, carvings to build and decorate the mehrabs with extreme of accuracy. There existed four mehrabs on the second floor of the Malek mosque in Kerman related to the second half of the fifth century AH, the remains of three mehrabs with decorative plasterwork has been preserved. These mehrabs have been made in the same size and dimensions. Since there has not been any comprehensive study regarding these mehrabs and the importance of their plasterwork art, a new line of research about these mehrabs seems essential. The present study is done as a first attempt in this field with the aim of the investigating mehrab plasterwork design and their artistic style. The results show that the style of plasterwork in these mehrabs is very similar to each other and there are only minor differences between them in type of pattern. Furthermore, plasterwork decorations include flower and leave arabesques, mouth torpedoes Arabesque, geometric patterns and inscription of Moqaad and Moshajjar Kufic writing. Unlike previous period styles, Arabesque motifs and inscriptions used in these mehrabs have outstanding innovations that make them distinctive in term, of artistic style.To achieve appropriate and consistent results, textual sources and historical research were sued in this study.

Finding the Qibla is an important issue in the practices of mystics. Altar - facing towards the Kaaba - is a center that has a special meaning and intuitive values. Some artists who are familiar with mystics, arrays altar with mysterious flowers and plants, because the altar is like a gateway through which one enters through the Garden of Eden. These Codes are shadows of the eternal facts and that is why they are not entirely clear. Hence, the highest way of thinking has been used to the creation of these codes. Altar is the place of intuition and illumination for a mystic. In this study using the Libraries method we will try to answer the question: What is the relationship between mysticism and Islamic art? How does Meaning combine with the visual beauty of altar and reveals itself? It will be clear that the creation of a work of art, requires a transition from inexistence to existence - from appearance to the conscience - and this is clearly expressed in the creation of the altar, because all the colors have been put together to express a mystical meaning and to provide the context for witnessing the truth.

The link between theosophical schools and architecture of different buildings is so deep and widespread that separation of architecture and theosophy seems impossible. Association between divine religions –especially holy religion of Islam- and local arts of their countries is obvious. So theosophy belongs to nature of all religions. Religions have never found more effective and representative tools than arts especially architecture of temples and mosques، to introduce itself. Besides، architecture has also never found a supporter like Islam. Regarding history of Iranian mosques architecture، can be seen manifestation of theosophical concepts and its design on facade of ancient buildings? For instance، why have domes being built spherical in Islamic architecture of Iran? And why all surfaces of Islamic buildings of Iran are covered with flowers، bushes or abstract designs? This study through documentary and observation research، tries to investigate the importance of intellectual arts and manifestation of theosophy in Islamic mosques architecture، remind forgotten beauties and finally represent fundamental role of theosophy in order to lead arts and artists to divine destinations.