جستجوی مقالات مرتبط با کلیدواژه « معماری ایرانی » در نشریات گروه « تاریخ »

Studies conducted in the domain of Iranian architecture are extensive as well as diverse. In these studies, different meanings of geometry are considered, and consequently, a wide variety of orders of Iranian architecture can be identifiable. Extensive studies are conducted on each of these geometrical orders of Iranian architecture. The importance of elaboration on these geometrical orders in comparison to each other is of great importance and considerable. Moreover, it would be able to prevent many of the errors that occurred. Taking into account the mentioned explanations, the underlying theme of this research is that what types of geometrical orders can be recognized among the votes of Iranian architectural research? This research is based on an assumption that geometrical orders of Iranian architecture have various types and levels which are elaborated till today. In this research, the qualitative content analysis method is applied to study the votes of the researcher. Choosing texts for this research and initial coding was based on the targeted selection among texts connected to the network of consistent concepts with geometry (basic concepts) in relation to Iranian architecture. Afterwards, selected texts were classified and named based on the similarities in fields (main topics), and again, these topics are secondly classified and named based on the similarities in fields. The results obtained from the geometrical orders of Iranian architecture include Geometrical orders of Human dimensions, climatic geometrical orders, geometrical orders of organization, aesthetic form geometrical orders and aesthetic arrays geometrical orders. It is noteworthy that these geometrical orders crystalize from the galaxy of Iranian geometrical architecture woven and impartible; therefore the primary goal of their identification is to gain cognition toward individually to shed light on them.

Ishraqi philosophy comprising Iranian-Islamic philosophy can be considered as the basis for the study of the role of the philosophical concepts in the Iranian- Islamic art. The aim of this research is to answer the question of how the concepts of Suhrawardi's illumination have been displayed in the Iranian architecture and music. For this purpose, firstly, the concepts of Suhrawardi's illumination have been discussed; then, these concepts have been investigated in the Iranian architecture and music. Finally, a comparative study has been done in these two areas based on the mentioned concepts. The findings of the study suggest that the concepts of Ishraqi philosophy can be clearly observed in the Iranian architecture and music and Suhrawardi's views can be considered as the basis for the conceptual adaptation of these two.

During the Seljuk era, Iranian art and architecture experienced significant growth and change. This period can be said to mark the beginning of the use of colorful tiles in architecture and paving the way for the flourishing and progress of decorative arts in later periods. Some of the arts which were widely employed in the architecture of the Seljuk era included brick work, stucco decoration, coloring, and creating various designs in the exterior sides of buildings. Accordingly, the love of luxury, as manifested in the architectural works of this period, is considered to be an important factor in the development of artistic renaissance. Following a descriptive method, while introducing the architecture of the Seljuk period, this paper examines the features and methods of Islamic architecture of the fifth and sixth centuries (AH) in the realm of Iranian art and architecture.

Nature displays profound preference for certain specific ratios to design her life-forms. These are geometric relationships that are transcendent and originated from Sacred Geometry. The view that geometry had a ritual origin is a part of a wider view that civilisation itself had a ritual origin, and therefore the history of utilisation of Sacred Geometry by man goes back to many centuries ago. The Pythagorean tradition, and the Egyptian and Babylonian sciences from which it derived, and Persian mathematics, a part of which reflects a Pythagorean intellectuality, are based on the sacred conception of numbers and their symbolism. In the traditional world, geometry was inseparable from the other sciences of the Pythagorean Quadrivium, namely arithmetic (numbers), music and astronomy. Traditional geometry is related to the symbolic configurations of space. Geometric forms such as the triangle, square and various regular polygons, the spiral and the circle are seen in the traditional perspective to be, like traditional numbers, as aspects of the multiplicity of the Unity.Architecture itself has always had a sacred meaning to all traditional civilisations through millennia, by which means man has tried to provide for himself a manifestation of heavens. Persian architecture always emphasised on Beauty, and by means of Sacred Geometry Persians measured the proportions of heaven and reflected them in the dimensions of buildings on the earth. A comprehensive utilisation of proportions in Persian architecture, such as in the design of plans, elevations, geometric and architectural patterns, and mechanical and structural features, can be proved through geometrical analysis of Persian historical buildings.In this paper, the sacred conception of geometry and its symbolism in the Pythagorean tradition, and Sacred Geometry and proportions in natural life-forms will be explained. The use of the science of geometry in design of a number of Persian historical buildings will be presented. The geometric factors upon which the design of these buildings, from both architectural and structural viewpoints, is made will be discussed.