جستجوی مقالات مرتبط با کلیدواژه « هندسه » در نشریات گروه « تاریخ »

The present article entitled "the role of Khajeh Nasir al-Din Tusi in the development of mathematics and astronomy in the Islamic world" aimed to investigate Khajeh Nasir al-Din's influences on mathematics and astronomy. Maragheh observatory was once considered the most advanced scientific institution in the Eurasian world. His book al-Shakl al-qattā brought about a dramatic change in the field of mathematical sciences, especially geometry. By transforming three-dimensional into two-dimensional geometry, he was able to take fundamental steps in the field of mathematics. According to the findings, it can be said that the most important developments in astronomy before Copernicus was made by Khajeh Nasir. This study hypothesizes that Khajeh's serious criticisms of Greek mathematical and astronomical theories and therefore the emergence of new theories, became the basis for scientific developments in Europe.

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.

In this article, understanding of Iranian architecture can be considered as art and mathematics, but unfortunately less to study architecture, the mathematical components of these elements have been analyzed in terms of art. Karbandy or Ribbed Vault consisting of curves with arches geometric rules specified under the original cover intersect and appear to pose is a covering structure. Another definition of Karbandy is a simple circular motion from the rafters in the form of a circle. In the 3rd century A.H., the Mosque of Shiraz (262 A.H.) in case we find that although the Karbandy no more corners of interpretation (which is to give the dome on it there) but its form, like complete “Karbandy”, and in fact, an introduction to the beginning Karbandy. Also, we can see a full example of Karbandy in dome of Nain Mosque in the 4rd century as well as an example of “Barber” and create of the main cover. Karbandy cases is named as Karbandy in bedchamber of the eastern dome of Nizam al-Mulk Mosque in the fifth century, after that in the 6rd century it is easily seen under the dome of the “Chehel Dokhtaran” building and dome of Sheikh Junaid at the Turan Posht village of Yazd. From the 7rd century hitherto now, Karbandy gradually was used in conjunction with the creation of architectural space as independent of sturcture. Unfortunately, the oldest written document about Karbandy being a draw on the scrolls belonged to the architecture texts of Akbar Mirza Qajar. The use of mathematics as an international language and understandable for everyone is the best way to reach a common cognition of the Karbandy. The studies show that regarding to the perfectly grammatical and legal nature of Karbandy, the mathematics can provide a complete base for reading it. This research can be considered as an objective and applied research that is done on studying the data collections gathered from written methods in the books, library-based manner and reviewing the cases that had not been registered. The research method is a descriptive, analytical and logical reasoning. Regarding to the several parameters of Karbandy, they can be separated into its components that a mathematical model was presented for each factor. After reviewing the material presented in the analysis, they show a mathematical model of simple Karbandy examined there and it was found that their formula replaces all types. This research shows that four factors is contributed to the formulate and model Karbandys. Their factors include N (sides Karbandy), D (distance connection), θ (vertical or non-vertical) and background factors (C1, C2, ..., Cm). There are other factors but these four factors are important that can help formulating and mathematical modeling th all of Simple Karbandys. Generally, we have two main methods for drawing Karbandy listed below: The Method of Pirnia and Manner of Sherbaf. In the method of Pirnia is shown that for drawing the circle, first, the circle should be divided, then it is splitted in connecting points, and finally it should be done on the the field. In the manner of Sherbaf, it is performed by drawing it on the access point. Therefore, on the base of every drawing, Karbandy is different and varied. Numerous examples of outlining the methods provided in the nodes and Karbandy to follow the outline of the presentation will be avoided in this abstract.

Muslims believed that geometry was as important as mathematics, astronomy, and music. Iranian architecture focused on beauty, alongside which the science of geometry functioned as a powerful tool enabling Iranian architects to measure spatial proportions and create balance and beauty on the ground. Domes, the making of which had started during the Parthian Era, became vastly prevalent upon the rise of Islam in order to cover Islamic buildings, particularly mosques, and, thus, turned into the symbol of Islamic architecture. A dome looks like a container and is constructed based on objective principles of mathematics and statics. The Safavid era represent one of the creative and dynamic periods of architecture, particularly, dome construction, and several beautiful works of this era are still standing today. In this paper, the writer has tried to examine the role of geometry and geometric proportions in the architecture of the Safavid period with an emphasis on the domes of the well-known mosques of that time in Isfahan. The related study was conducted following the analytic-descriptive method while resorting to available documents and performing field studies. The findings demonstrate that the Safavids paid particular attention to proportion in architecture and changed the quadrangular design of the space under the dome into the circular design of a dome. During this period, geometry became simpler and disconnected hollow domes became more common.

The historical context of Birjand city includes valuable architectural works and historical buildings which have not been sufficiently considered by researchers in terms of traditional architecture. One of the distinguished buildings in this city- enjoying its trans-regional and trans-national status, is Showkateyeh School. Showkateyeh School in Birjand was constructed by Mohammad Ebrahim Khan Alam Showkat Al-Molk in 1890 as Showkateyeh Hossainiya and in 1903, it was converted into a school. In the present research, the authors are looking to introduce the building by adapting the approach of reviewing geometric proportions, analyze and evaluate the hypothesis of architect and designer’s utilization of geometrical principles and golden ratio in the spatial-contextual elements of the school, on the basis of such question: What function the geometry and golden ratio have played in the construction and formation of spatial elements of Showkateyeh School?” and present the obtained geometrical values through accurate geometric drawings of the plan, façade and cross-sections. Despite history of Persian civilization and the large volume of discovered artistic and architectural works from various periods, few studies have been conducted on the geometry and proportions of these works and all these studies have primarily tried to prove the existence of geometrical patterns and relationships in between geometric shapes and architectural elements of historical monuments and little attention has been paid to the function of the architect as well as geometrical drawings of the plan, façade and cross-sections. Based on its main subject, that is, understanding the basic geometry and golden ratio and Iranian proportions in Showkateyeh School, this research trying to investigate the function of the architect using geometrical principles to create the spaces needed for the building, the relationship of the spaces with one another, the location of each of the architectural elements, calculating the height of the building and ensuring the beauty and strength of the building. Understanding this function can play a significant role in restoration and reinterpretation of historical buildings, which is not possible without reviewing the geometry and geometric proportions in a historical building. In the present research, the authors have used the analytical method as well as data collection tools including field observation and library research. Drawings in this research have been produced manually using the most rudimentary architectural tools such as simple ruler, set square and compass. Then, given the introvert structure of Showkateyeh School and the importance of the porch and the central yard in introvert buildings, these two architectural elements have been presented as the focal points of the building and by considering these points for producing the geometric drawings, in order to figure out the geometric shape of the building (regular hexagon), the authors reviewed the geometry of the building to identify the geometric structure and proportions in Showkateyeh School. After studying the research variables such as the extent to which golden ratios and Iranian proportions have affected the design and construction of the building as well as locating the architectural elements and creating beauty and visual balance in the building, the results of the analysis indicated that the architect of the building has had sufficient knowledge of proportional systems and drawing of geometrical shapes and has used his knowledge in selecting the scales of the building and locating the main spaces such as the yard, porch, kitchen and entrance. The golden ratio and Iranian proportions of √2 and √3 have been fully integrated into the development of the building, yet the architect has used the golden ratio primarily to locate the architectural points and spaces.

This article is devoted to Kamāl al-Dīn al-Fārsī’s (d. 1319) additions to some remarks contained in Book XIII of al-Ṭūsī’s Taḥrīr uṣūl al-handasa, concerning the construction of a semi-regular polyhedron inscribed into a sphere using the movement as a way for the construction. This treatise is one treatise among ten found in a codex preserved at the Bibliothèque nationale de Tunis.

Fakhr al-Dīn al-Rāzī، theologian and philosopher of the 12th centuriy (1148-1209)، has a huge literary production in many scholary disciplines of his time. Nothwithstanding some original ideas which are mostly found in his theological and philosophical writings، most of his other works are compilations based on other sources. Some of these sources still exist، while most of the others seem to have been lost forever. Research on the the relation between al-Rāzī and his sources can explicate the way he chose his sources and the degree in which he transformed them. In this paper some of the mathematical themes borrowed by al-Rāzī from the works of Ibn al-Haytham، the great mathematician and physicist of the 10th – 11th century، are analysed and the way he has changed and adapted them to his purposes is discussed. This research can shed a light on the intellectual relations between different types of researchers – theologians، philosophers، and scientists of this important period in the intellectual history of the Islamic civilization. It can also show how the work of Ibn al-Haytham was received in the cultural domain of Iran almost one and a half century after his death.

“Euclid’s Elements” begins by an introduction into definitions، Postulates and Common Notions; the Postulates are presented in the science of geometry by Euclid without any or explanations. However، regarding the significance of Postulates which is the fundamental to geometrical proving and solving geometrical theorems، some translators and interpreters of Euclid’s Elements provide explanation for some of the Postulates and try to prove them. Qutb al-Din Shirazi and Faḍl ibn Hātam Neyrīzī are among the translators who believe that it is essential that some of the Postulates be explained and some others be proved. This article compares the methodologies of Qutb al-Din Shirazi and Faḍl ibn Hātam Neyrīzī، an older interpreter of Euclid’s Elements.

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.